Guess you know that article

Ahhh, variation....

More than three decades after Black Sabbath conjured images of the dark arts, heavy metal is growing up. The genre is increasingly incorporating social and political messages into its dense power chords.

Yet...

Heavy metal has always touched on social and political issues. Metal grandfathers Black Sabbath criticized the Vietnam War in songs like "War Pigs" and "Children of the Grave." Iron Maiden's "Run to the Hills" was an angry denunciation of the displacement of Native Americans.

Still...

Napalm Death's Greenway is considering work as a political activist when his metal days are over, but he doesn't think metal will ever completely stray from hedonistic and supernatural themes.

"I appreciate that not everything has to be awareness raising or political," he said. "Music is also a form of entertainment and it should remain that way. Variety is the spice of life. Escapism is a good thing if it doesn't cloud your vision."


Couldn't agree more :worship:

So, what was it you wanted to discuss? :lol: :Smug:
 
Well, I did not like the part that says that metal starts to grow up just now. It's not that it's all been drinking, sex and satan throughout the last thirty years - and it's mainly the 'hip' bands of late that are mentioned in the article.
 
Yeah? So? What else is new?

Non-metal people want to see stereotypes, be confronted with what they (think they) know. No use telling them about Cirith Ungol, Manilla Road or Slough Feg. They'll probably just think you're talking about some weird venereal disease :ill:
 
I find it ironic that this goes on blabbermouth...as if they were proud of it that metal is appreciated, even though they do not get that this appreciation is more than questionable. This article is probably a silly-season-thing anyway: nothing else to cover, so let's write about that, only that metal is not the scapegoat here, but the contrary.
 
Occam's Razor said:
I find it ironic that this goes on blabbermouth...as if they were proud of it that metal is appreciated, even though they do not get that this appreciation is more than questionable.

I think Borivoj just likes to laugh his ass off at the comments people leave after these articles.
 
This is one of the new pack journalism lines on the "rebirth" of heavy metal. Just finished reading a review of Lollapalooza in the Chicago Tribune and when mentioning Coheed and Cambria the writer made sure to mention that the band appealed to "cerebral headbangers."

Another example:

Carol Simmons Dayton Daily News " Metal gets heavy." July 30, 2006 Sunday


Those folks who keep saying that the younger generation doesn't have protest songs the way the older generation did are apparently speaking as members of the older generation - or they haven't been listening. They certainly haven't been listening to heavy metal. A lot of us are guilty of that. The genre seemed to define rock 'n' roll excess. Focusing on themes of death, destruction and insanity, the music assaulted the senses with screaming vocals and screeching guitars. And the lives of the metal rockers seemed to embody the genre's excesses in hedonistic scenarios of drugs, alcohol, sex, and, in the 1980s, unfortunate hairstyle choices.

Whatever musical integrity it had when Led Zeppelin defined its dark and dramatic intensity in the 1970s (though former Zeppelin guitarist Jimmy Page has refused to label his band as heavy metal) got sidelined over the years in an overindulgent haze of substance abuse, misogynistic posing and theatrical stagecraft. Even the guitar solo, the meat and potatoes of hard rock, became obsolete.

But the sidelines are full of people ready and eager to pick up the balls that have been dropped from the field of play. The mistake many observers in the stands made was to think that the game was over when the on-field action became too awful to watch. Moving on to other arenas, we missed the change-off.

Some of us are guilty, too, of stereotyping. We peg musical genres the way we define people. And we learn over and over that we have to look deeper than our own assumptions. It's just like high school, when we find out the popular jock writes sensitive poetry, or the angry rebel takes care of her disabled grandmother every afternoon, or the computer geek plays killer guitar.

Turns out, heavy metal practitioners have been writing sensitive poetry, taking care of relations and playing killer guitar all along.

The evidence is abundant on this year's daylong Ozzfest tour, which made its only Ohio stop in Columbus last weekend and continues traveling the country through Aug. 13, concluding in West Palm Beach, Fla.

Founded in 1996 by the so-called "Prince of Darkness," Ozzy Osbourne and his entrepreneurial wife, Sharon, the juggernaut that is Ozzfest celebrates the heavy metal world and its fans.

And while that world is still very maledominated and friendlier to marijuana than most parents might find comfortable, the 2006 installment highlights a seriousness running through the genre - not to mention some serious guitarsolo work.

The dark topics traditionally associated with heavy metal apparently have a new relevance for a generation living in a fractious world at war. Many contemporary metal bands such as this year's Ozzfest headliners System of a Down and Disturbed are taking on social issues with a ferociousness reminiscent of the British political-punk bands of the late 1970s, yet they manage to refrain from the nihilism and anarchy of that subgenre. In fact, this new generation of musicians reveals not only a certain vulnerability, but also a desire for healing and human connection.

There is real - and intense - anger in the music's aural assault, yet there is also pain and fear and confusion.

As Disturbed's lead singer David Draiman - whose songs cover topics ranging from the Iraq war, to child abuse, to personal responsibility - noted in one of his addresses to the receptive crowd: In this time of global unrest and uncertainty, "my brothers and sisters, we are all 'disturbed.' "

Similarly, Jamey Jasta, the lead singer of the caustically titled Hatebreed, noted that people who think his band fosters hate are wrong. "Every one of our songs is about hope," he said, leading into a song dedicated to victims of childhood molestation. (He also added that he hoped all abusers go to hell; but how forgiving and altruistic do we expect people to be?)

Led Zeppelin famously sang about a Stairway to Heaven. The next generation's AC/DC sang about a Highway to Hell. The new breed of metal musician seems to be saying that we're actually somewhere in the middle, and it's up to us to determine our own direction.

That's a pretty powerful message.
 
Another nail in Heavy Metal's coffin!! A couple of more articles like this and the consequences will be dire!! Could this be the end of our beloved genre? :cry:
 
Some Bastard said:
Another nail in Heavy Metal's coffin!! A couple of more articles like this and the consequences will be dire!! Could this be the end of our beloved genre? :cry:

Nobody has insinuated that but you...

As for the article - like I said: it's summer, and the press has nothing else to cover, so they revive the same old topics, this time not ridiculing the music for its stereotypes, nor condemning it for its provocation, but trivializing it by making the "bad guys" look smart and caring.

It only shows on a general basis that the majority of the media needs precast images of anything, or else they cannot write about it within the restricted frames that are given to journalists. You will not be able to give a nuanced picture of a topic if the general practice is a coverage that allows not more than 2000 characters or so per feature.

Of course, the resulting superficiality is also and especially to be found in metal journalism - or it is of the "masturbatory" type that never finds an end... :p
 
Aren't we all guilty of reviving the same old topics? (yes, that includes me) :heh:

"No more posers and wimp rock, only cover tr00 Metal!!" (roughly the message of several reader letters in just about every Heavy Metal zine in the late 80's/early 90's)

or:

"Please bring back the GORE in Fangoria" (freely subsitute just about any other Horror zine that dared to write about an atmospheric spook show with no gore)

As for the comment about Coheed & Cambria, ever since Heavy Metal existed artists as diverse as The Pretty Things, Oasis, New Model Army, Joe Walsh, Bryan Adams and Tom Petty (to name but a few) have been called Heavy Metal by ignorant writers. What's the big deal?

But then: Those who do not know history are doomed to repeat it.

Now who said that again? :cool:
 
Planetary Eulogy said:
Politicized lyrical content is almost inherently anti-art.
That's such bullshit.
You're suggesting that people can't be passionate about politics, which is simply absurd.
 
Zealotry said:
That's such bullshit.
You're suggesting that people can't be passionate about politics, which is simply absurd.

This has nothing to do with passion and politics, and everything to do with a distinction between art and product.

Art exists first and foremost as an expression of the creative will: it is the transcendence of reality through symbolic creation and re-creation. Product, which includes both commercial ('entertainment') and ideological ('propaganda') expressions, exists primarily to advance a goal external to the creative spirit itself. That goal may be to make money or to 'sell' a worldview, but it supersedes any artistic purpose and generally renders any artistic impulse inert.
 
Zealotry said:
So Picasso's Guernica was not art then, by your standards.

Guernica existed for a primarily artistic reasons: while it commented on the political, it wasn't painted for a political purpose. Which probably explains why it remains a powerful work, and most the Soviet realist paintings of the same time period are totally forgotten.
 
You need a bit of a history lesson, I see...

[Guernica] was produced under a commission by the Spanish Republican government to decorate the Spanish Pavilion at the Paris International Exposition (the 1937 World's Fair in Paris). Picasso said as he worked on the mural:
The Spanish struggle is the fight of reaction against the people, against freedom. My whole life as an artist has been nothing more than a continuous struggle against reaction and the death of art. How could anybody think for a moment that I could be in agreement with reaction and death? ... In the panel on which I am working, which I shall call Guernica, and in all my recent works of art, I clearly express my abhorrence of the military caste which has sunk Spain in an ocean of pain and death.
 
And, again, the purpose is artistic: it is an expression of an artist's emotional response to an atrocity. It exists as a vector for his "abhorrence," not as a recruitment tool for a political ideology. This is the key distinction between art that touches on the political/ideological (Picasso, Beethoven, Discharge, Burzum etc.) and propaganda, which subordinates artistic expression to missionary zeal (Christian 'metal', System of a Down, Absurd etc.).
 
It's an absurd statement to make, nonetheless. You can't precisely draw the line between a piece of art created to express a heartfelt reaction to the state of the world in the form of social or political commentary and one created dispassionately without firsthand knowledge of the creator's intent.