Shakespeare And Metal: Part I

I recently went to a kick-ass lecture delivered by Sir Christopher Ricks, and it blew my mind.  He's a freaking KNIGHT. And have you seen his credentials? This is an exerpt from the memorandum:

Christopher Ricks is the co-director of the Editorial Institute and the William M. and Sara B. Warren Professorof the Humanities at Boston University, having formerly been professor of English at Bristol and at Cambridge. He is a member of the Association of Literary Scholars, Critics, and Writers, of which he was president (2007-2008). He has edited and also teaches in the Core Curriculum. He was elected Professor of Poetry at Oxford in 2004, and is known both for his critical studies and for his editorial work.

He's a total badass, right? So I made him sign my denim jacket right below Abysmal Dawn's autographs. That was pretty sick. Anyway, so much for introductions. Here's the stoner epiphanies I had that (k)night.

The entire high-octane hellride started out with a monologue from Othello, wherein the titular character eloquates thus:

Soft you; a word or two before you go.

I have done the state some service, and they know't,

No more of that. I pray you, in your letters,

When you shall these unlucky deeds relate,

Speak of me as I am; nothing extenuate,

Nor set down aught in malice: then must you speak

Of one that loved not wisely but too well;

Of one not easily jealous, but, being wrought,

Perplex'd in the extreme; of one whose hand,

Like the base Indian, threw a pearl away

Richer than all his tribe; of one whose subdued eyes,

Albeit unused to the melting mood,

Drop tears as fast as the Arabian trees

Their medicinal gum. Set you down this;

And say, besides, that in Aleppo once,

Where a malignant and turban'd Turk

Beat a Venetian and traduced the state,

I took by the throat the circumcised dog,

and smote him- thus.

The lecture was not just on Shakespeare, but on T.S Elliot's criticism thereof. To quote Elliot from the essay Shakespeare And The Stoicism Of Seneca, "He is endeavouring to escape reality... Othello succeeds in turning himself into a pathetic figure, by adopting an aesthetic rather than moral attitude, dramatising himself against his environment." This critique was similar to my musings on the psychological aspects of mosh pits. Sometimes the only way to feel better about your situation is to exaggerate it to the point of melodrama.

Such exaggerations may reflect realities that would otherwise remain concealed. For instance, after losing a close friend to cancer, I realized that mosh pits were my only true catharsis. If such a purgation was not a "constructive outlet", it was at least close enough. Similarly, Othello had suffered a loss, and repaired the damage by indulging in a different kind of pain. It's like a spiritual version of "hair of the dog". You take what hurts you and remedy it with a controlled dose. Such is the act of self-dramatization.

At any rate, I appear to be rambling. I adore Sir Christopher Ricks and his brilliant observations, but I don't want to just parrot him.  

I fear plagiarism laws, and I also know that knights tend to be armed to the teeth.

Huh. So that's how knights work.

... Wait, is that how Sabaton really got their name?!

Ahem. Stay tuned for Part II.

Metal Mafia Nationwide (The New Mexico Connection)

As much shit that I talk about Facebook, it's really a blessing in disguise. That's how I found The Living Doorway, how I get a taste of bands that would otherwise remain unknown, and how I keep track of important events. And as far as events are concerned, Facebook is worth it just for the excellent promotion skills of Metal Mafia Nationwide. This is an internet based network of underground bands, venues, and promoters who can post flyers and other media for their upcoming concerts.

I like to think I do a pretty decent job of giving local shows the exposure that they deserve. However, since the Metal Mafia allows the bands and venues to post their stuff directly, it eliminates the need for a middle-man such as myself. Then again, it sucks to scroll through a page and a half of posts quoting Avenged Sevenfold lyrics, just to get a hold of some decent info. I guess you do need me after all.

Anyway, to give you the best of both worlds, I'll direct you to the New Mexico Connection of the Metal Mafia, and show you some of the flyers for upcoming shows that I didn't mention last time. And for those of you (un)fortunate enough to live outside of this state, they have profiles for other regions too.

I thought that said Hunter S. Thompson for a second there. I've never heard of any of these bands, but I don't care. My favorite shows are the adventerous ones when you don't know what to expect. More often than not, I am pleasantly surprised.

Gorilla Music is kind of sketchy, but they know how to put on a hell of a show. I don't know any of these bands except for Soul To Rest, who are amazing. Like I said, I like the risky concerts best, so check this out.

Metal for a cause. You'd be pretty stupid to miss this.

This is a great flyer, for a great show. Thanks again, Joe Angel!

 This isn't really pertinent for underground or local bands, but it would be blasphemous to withold information of such gravity. Fucking CARNIFEX, you guys!!

Metal Mythos

      From the fantasy of early power metal to the darkness of modern Viking Metal, the genre as a whole is intertwined with mythology. Although this is a specific relationship, its implications are so vast that it is difficult to organize a coherent analysis. Therefore, I will take the copycat aproach and tackle the beast chronologically, as has proved effective for the likes of Sam Dunn. Rewind to the early years...

     Although they refuse to be labeled as Metal, Led Zeppelin were some of the earliest rockers to incorporate mythology into their lyrics. It is common knowledge that they integrated established storylines of Tolkien, dropped it down to an eerie D, and amplified the results to high heaven. In turn, bands such as Black Sabbath and Alice Cooper took a decidedly Christian standpoint, contrary to the ravings of critics and dumb-asses. Just because the lyrics weren't about Jesus, doesn't mean these artists did not let their spiritual beliefs bleed into their art. Gothic crosses and rosaries are still a staple in the Metalhead wardrobe to this day. And of course, it is impossible to describe religious symbolism in Metal without mentioning Dio.

     The so called "devil horns" remain a universal symbol of Metal, despite bastardization throughout the decades. From an early age, Ronnie James Dio was taught to clench his fist with the pinky and index fingers erect, as a deeply spiritual sign to ward off the evil eye. After he used the gesture in concert, the audience had equated the hand signal to his powerhouse vocals, then to the Rock n' Roll lifestyle, and now it is practically a cartoonish caricature of its spiritual origins. However, despite being overused to the point of cliche, the "devil horns" are a testament to spirituality and music.

     Meanwhile, myths of a different variety had to be dispelled. These fell not under the category of "spiritual story" but of "urban legend". Bitings heads off of bats, killing animals onstage, and all manner of blashpemous debauchery were invented (at least partially) and sensationalized out of proportion. Again, the artists who caught the most flak were some of the most devout Christians this side of the Bible-Belt. At any rate, these accusations were little more than tabloid hyperbole. After all, you don't have to be Satanic to like busty babes and dragonslayers.

(Stay tuned for Part 2: Power Metal! )

In Memory of Chaos

12/13/2011...
On this day, a decade has passed since the departure of Death frontman Chuck Schuldiner. The band Death was a profound innovation, not only in Metal but in music as an entirety. Their impact on the Death Metal industry was so intense that it's almost as if the genre owes their namesake to them. Chuck Shuldiner in particular played a significant role, serving the band not only as guitarist but also as lead vocalist. His status as a pioneer in indisputable. Heavy music has never been the same since this talented man hit the stage, and we have yet to be blessed with a musician of his caliber thereafter. Sure, the face of Metal has evolved between '83 and today, but Shuldiner has still set a bar to which many of us still aspire. This is no small feat, especially considering the fact that he was trapped in a generation in which Metal was portrayed as long-haired blonde boys in neon spandex and blue lipstick. To reinvent music in such an aesthetic no-mans-land in nothing short of extaordinary. So let us propose a toast, and quite possibly drink, to this badass mother-fucker, the likes of which I doubt we'll see again. Rest in pieces, and bring the party to heaven. \m/

Still can't get enough Chuck? Check out the kickass articles in Revolver, Terrorizer,and Decibel Magazines. They are indeed eulogies worthy of such an artist.

Denim and Leather: Headbanger Style

   Metal was the unloved bastard-child of the hippie generation. We inherited the drugs and long-haired rebellion. Hell, we even kept the unhealthy obsession with music. It's the music itself we changed. Bands like Led Zeppelin bridged the abyss, hence the elements of Bohemia in the Metalhead wardrobe. The most obvious connection is the long hair, which was shocking, offensive, even freakish to society until the late 6o's. Other examples include the John Lennon glasses worn by Ozzie Osbourne, the peace signs and love beads of Enuff Z'nuff, and the psychedelic prints of virtually all Glam-Rock bands. The only constant, with few exceptions, was the outrageous hair. Like the mohawks and liberty-spikes of Punk Rock, the tresses of the Metal masses symbolize deliberate rebelllion. It asserts individuality in a world full of crewcuts and neckties. Songs like Quiet Riot's Metal Health even turned this feature into an asset. Now long hair was ideal for the new dance-style... Headbanging.

     Never try to bang your head in heels. The shoes of a Metalhead are generally more practical than fashionable. The platform monstrosities worn by KISS would be useless in a mosh pit. Hence the frequent use of combat boots and sneakers. Sebastian Bach, the lead singer of Skid Row, even has a pair of converse tattooed on his arm. Illegal situations were romanticised, further reinforcing the desire for functional footwar.Solid grip and tough material would make for a succesful getaway when evading cops.

     Another example of law-repellent fashion was the innovation of spikes. Metalheads attending riotous concerts wore spiked collars to  prevent chokeholds and headlocks. On the other hand, studs and spikes are of twofold origin. Bands like Judas Priest donned bondage gear as a testament to the sexuality of the genre. Therefore, the studs embody the paradox of violence and eroticism. In the case of S&M apparel, it is not a paradox so much as a blending of sex and violence. Then again, paradox defines the genre. Blues and classical, glamour and death, anger and hope. In the end, it doesn't matter what we wear. It will become bloodstained one way or another.

Modern Masterpieces: The Connexion Between Metal and the Compositions of Yesteryear

Terrorizor Magazine made a comparison between Arch Enemy’s Bloodstained Cross and the Seasons of Vivaldi. Revolver Magazine’s resident freelancer, Chris Krovatin, authored a superb article on the 6 most Metal classical compositions. Such is my textual evidence, yet my strongest proof is empirical. Listen to virtually any modern Metal, and it is clear that such music is inspired by the great classics. Contrary to the teachings of pop-culture, Metal is an extremely painstaking, technical, and complex genre. Unlike most modern music, contemporary artists of Metal are based less on Blues and more on Classical music. The intricate melodies, polyphonic sound-walls, and frequent use of syncopation differentiate Metal from most contemporary musical styles, yet link it inextricably to the genius compositions of yore.

Metal originated with the blues, taking the simple riffs to unknown, cathartic depths. As time went on, movements such as Thrash have brought speed and technicality back into the equation, giving us masterpieces to rival those of classic musicians. Take, for instance, the lessons imparted from Gradus Ad Parnassum, written by Johannes Fux. (Yes, that’s his real name.) In my brief yet torrid study of Counterpoint Compositions, I learned the difficulties of obeying the rigid structure of consonance, harmony, motion, and even the controlled use of dissonance. It was tedious to follow these rules and still manage to make the piece interesting and lively.

Yet, my favorite bands do just that, if not every day then at least often enough to get paid.

We are not the Hollywood stereotype of stoners living in our parents’ basements, mindlessly banging our heads to anything loud. We are artists. Even those of us who are neither musicians nor composers are just as cultured as the monocle-wearing crowd who pine over Baroque instrumentals. Hell, we probably listen to the exact same Purcell operas as Mr. Cunningsworth. The only difference is we crank it to 11, while Old Man.C crosses his index fingers and flings Holy Water at our supposedly satanic asses.

Modern Metal utilizes the same rigorous structure, artistic enterprise, and musical talent as the enduring works of Mozart or Beethoven. Now we have10 string guitars instead of harpsichords, and we have growls instead of choirs. Then again, the phenomenon of Symphonic Metal proves that these vocal styles don’t have to be mutually exclusive. Even radio-friendly bands such as Killswitch Engage are a testament to the possibility of operatic vocals juxtaposed with screams.  

Metal is so much more than mere fan-fodder to entertain and anger the unwashed masses. It is simultaneously malleable and durable… In a word, resilient… It has the same immortal virtue which sanctifies the gorgeous art that has endured for centuries.

Machine-Eye Photography: An Image Caught in Time

Unlike most photographers, Miguel Chavez captures movement, not moments. The  atmosphere of live music is reflected in his candid shots of mid-concert mayhem. He captures the definitive examples of mosh pits, of mass hysteria, the unison in entropy that epitomizes the art of concerts. Prolonged poses are rare in his art.  Even the standstills are obviously candid, a fleeting pause between motions. His photography has been featured at galleries such as Warehouse 21, a match made in heaven as W21 moonlights as a venue at which many such concerts take place. Artistic, punk-as-fuck, and all around awesome photographs.

Visit Miguel Chavez's photography blog here...

...Or his Flickr here.