Music Writing by Carson Arnold
Music Writing by Carson Arnold
HEAVY-METAL COMPOST/ HEAVY-METAL CANCER
Intellectuals won't even go near heavy-metal music, never mind anything that qualifies as overdrive, repulsed by its lack of fatigue and absence of abstraction. The nerve to play without hesitation of thought, talent, or reason.
This is partly why I've come to be inspired by heavy-metal music. Not in anyway a consumer of the direct culture, more intrigued by the abrupt phenomena, an industrial creation out-of-control, a virus within the system tamed by the antibiotics of profit, the baritone crescendo of rock 'n roll, interesting for the artistic mechanics that exists between the music and human nature. The market that's attached to the music is of little concern to my observations- just one more cliche thrown into the bag- it's the very sound vibrating within and under its devotion, the cry for direction, the anger that is love.
Let's take a look at art all at once. What you'll begin to notice is that every genuine piece of art over the years, from poetry to the cinema, was composed for, and at one time, from the underclass. A generous gift from their struggle of survival. The conscience underneath great works of literature and poetry is a reflection of this repression and a cry away from the maddening aristocracy held so firm. Silent Chaplin or Buster Keaton films were a proud salute to the underprivileged. Morals for our society were set within these movies, as examples, presenting that we too are in this same plot for freedom of mind. Music was always a redemption song, a melody for the continuous tale, lullabies for the tired ear (unfortunately, it's become an idealistic mess as the industrial age marches on). People who were never given the opportunity for that bite of thick culture were at least rewarded as working-class heroes within the grains of artistic expression.
So how come I pick up that all this great art has been kidnapped by exactly the opposite crowd of these heroes? Politely abducted by the wealthy, the privileged, the upperclass. Is this true? Has the intellectual constitutionalized art? Breeding its heritage into academies, culturing a single group, indoctrinated into the world as a superior class with credit, to be welded into establishments of moral code? Let's face it, it's only a certain type of person that visits an art museum, classical concert, or local bookstore. Children have found independence more easily attainable on TV rather than a book, and there's a reason for this- it's the only ethical thing to do when immune in their situation.
Which brings me to heavy-metal compost. Perhaps the wrong people are being benefited by art. The ones that aren't receiving its educational warmth are the same people its warmth was written for. Every desperate soul of poverty is under no condition that there's been countless operas and a history of devoted literature whose principles and plot expose the oppression ruling their existence. Dylan's theme within "Ballad Of A Thin Man" was not referencing his fans or following, it was sung for the ones incapable of following. The people deprived and robbed from culture or art are left in the dustbowl, secluded to walk through the remains of their heavy-metal compost. Resorted to consumption. These heroes have created heavy-metal music, a phenomena from man's misfortune, real art. Heavy-metal, rap music, television, substances, etc.- all things in which gambles the ultimate goal of "making it big", rich, and successful- this acting as the entire mass mental state which profits an upper nation so they can afford a Bob Dylan concert or an opera performance, a college tuition to study those great works of literature, and the privilege to understand all three of them. Funny, isn't? This is a theoretical example in the arts of how racial and class genocide extremely exist except done in the clever disguise of economics and finance. How I love the art of heavy-metal!
Heavy-metal compost/heavy-metal cancer. I say cancer because like cancer and the medical industry, people of the heavy-metal compost are a gigantic profit to what I've already explained. That's the basic and bottom line. A difficult shame. As I said to a friend recently, "it might never end to the point where it never began" (see Roman Empire). While this is happening, you can find me drumming to heavy-metal.
Carson Arnold- October 18, 2002
copyright 2002 Carson Arnold
H(ear) is an online music column consisting of interviews, articles, and investigations written by Carson Arnold. As a freelance writer for various magazines and liner notes, living in the woods of Vermont with his family, Carson widely encourages one to submit their art, writing or any interesting piece of material that you would like to share. H(ear) is accepting both promos and demos for review or any other valuable music-related subjects. If you wish to make a comment or would like to receive H(ear) weekly by email please contact Carson at [email protected]
Thanks and enjoy!
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