Not all Objectivists Like Rap

Subject: Not all Objectivists Like Rap Sun Apr 06, 2008 3:43 am

RACH! by Lindsay Perigo.

Today I want to announce RACH: Revolt Against Caterwauling Headbanging.

Normally I refer to "headbanging caterwauling'; today I’m reversing the expression for the sake of a good acronym, one that implicitly pays tribute to the antipode of headbanging caterwauling, Rachmaninoff.

What will RACH do? It will seek, by means of moral persuasion, not government force, to rescue the world from the clutches of the culturally depraved, whose substitute for music—evil set to cacophony—assails us at every turn.

Going to the gym in pursuit of the body beautiful? You’ll be deafened by the discord ugly.

Going to the supermarket for food to sustain the body? You’ll be assailed by jangling to crush the spirit.

Going to a restaurant for conversation and romance? You’ll be undone by amplified chainsaws and jackhammers.

Watching television for relaxation and entertainment? You’ll be thwarted by screaming skulls screeching scripts for promos and ads, competing with chainsaws and jackhammers.

In its most blatant, obnoxious and honest form—rap—this depravity doesn’t conceal its life- and man-hatred, replete as it is with murderous agendas and gratuitous profanity. If there were a Satan, rap would offend even him. If there were a Hell, it wouldn’t compete with rap for awfulness.

Those who perpetrate, perform and enjoy headbanging caterwauling are sub-human. They are in rebellion against life, against grandeur, against heroism, against beauty ... they are at war with that which is the crowning glory of man: his mind. They are mindless worshippers of mindlessness. They do not rule the world officially but they have taken it over. They have taken over the shopping malls, the shops, the bars and restaurants, the gyms and rugby fields, the interludes between television programmes and even the programmes themselves. Nothing is uncorrupted by these aliens—even opera singers perform with them.

It’s time to shame these aesthetic thugs into oblivion. Musical masochism is for consenting adults in private; it shouldn’t be sadistically imposed on unconsenting adults in public. Ideally its perpetrators should follow the logic of one of their number, the Slipknot drummer who, when told his was music to commit suicide by, said, “We must be doing something right.” I would certainly encourage that alien and all its fellows to top themselves and leave the earth to human beings.

Stand by for The RACH tick of approval for restaurants that allow conversation; for Sky Sport when it stops confusing its mission with rock concerts, its audience for rappers; for Les Mills when it stops damaging its clients’ hearing for the benefit of freaks on steroids. Stand by for RACH bumper stickers that say, "What are you afraid will happen if there’s no wailing and screaming?" "Silence is Golden." "Stop Harvey Norman, Stop." And, "Ozzie Ozbawn Sucks."

Yes, RACH to the rescue. Let the enlightened reclaim the earth, and the aliens crawl back to their mosh pits.

:Link:
_________________

Aquarchy Rules. Liquidate the Reds

ANCAPS Forum, Ancapolis, Aqua-Terra Atlantis Division.

Subject: Re: Not all Objectivists Like Rap Sun Apr 06, 2008 5:10 am

The "free market" has spoken! And the convoluted, conservative rap critic, Lindsay Perigo, who sounds as if he just vomited a thesaurus, has lost!

Thankfully, never again will the world be subjected to the suffocating, military type discipline, of formal ballroom dancing, sugar coated sterile lyrics or even operas, as it has been in the past, since it's recognized it for what it really is, namely, oppressive, pretentious elitist garbage.

Rap, which is born out of the long changing continuum, of the rich black music culture (not to mention the oppression by the waltz dancing whites) has given the world more pleasure, more happiness, and a greater influence, than all the motherfucking official, formal dancing and singing schools combined!

The official oppressive "elites," who harbor illusions of superiority, through their formalism and sexless, purer than pure dance and lyrics stylizations, are also the bloodthirsty monsters who have wrecked more suffering upon humanity, than all the rap performers & their fans could ever even imagine! And he of course conveniently sidesteps the fact that today, rap is at the forefront of effective critical social commentary via their brilliantly written songs and lyrics.

He mouths off about gratuitous profanity, as if his conformist choice of gratuitous non-profanity, is anything to write home about. He'd be better off shutting his non-profanity filled mouth by sucking off yet another fagot's dirty cock. Presumably, one not belonging to a rap connoisseur! But in either case, he won't be sucking on mine, as mine has too much self-esteem, to ever permit the likes of that alco-fagot, to come anywhere near...

PS. The above post sounds even better, when sung to the accompaniment of a strong rap rhythm!

PS2. His post deserves to be in the idiot forum, where it rightfully belongs!
_________________
"Taking money without permission is stealing unless you work for the IRS then it's taxation. Killing people en masse is homicidal mania unless you work for the Army then it's National Defense. Spying on your neighbors is invasion of privacy unless you work for the FBI then it's National Security. Running a whorehouse makes you a pimp & poisoning people makes you a murderer unless you work for the CIA then it's counter intelligence." R. Wilson. ANCAPS Forum Headquarters, Ancapolis

Subject: Re: Not all Objectivists Like Rap Sun Apr 06, 2008 5:32 am

_________________

Aquarchy Rules. Liquidate the Reds

ANCAPS Forum, Ancapolis, Aqua-Terra Atlantis Division.

Subject: Re: Not all Objectivists Like Rap Mon Apr 28, 2008 2:07 am

Perigo's declaration of Romantic music’s objective superiority.

"The emotion involved in art is not an emotion in the ordinary meaning of the term. It is experienced more as a 'sense' or a 'feel,' but it has two characteristics pertaining to emotions: it is automatically immediate and it has an intense, profoundly personal (yet undefined) value-meaning to the individual experiencing it. The value involved is life, and the words naming the emotion are: 'This is what life means to me.' Regardless of the nature or content of an artist’s metaphysical views, what an art work expresses, fundamentally, under all of its lesser aspects is: 'This is life as I see it.' The essential meaning of a viewer’s or reader’s response, under all of its lesser elements is, 'This is (or is not) life as I see it.'"

—Ayn Rand, The Romantic Manifesto

Introduction

As often happens, I am in hot water—this time on the "RACH” thread—for fulminating against “headbanging caterwauling” and touting the superiority of Romantic music. I am in hot water with the fans of caterwauling for daring to diss their favoured offal, and with a serious music aficionado who insists “Romanticism” should include sundry post-Romantic meanderers and blowhards. He has ranked some thirty Romantic and post-Romantic works according to merit (according to him) in what looks suspiciously like a J. Evans Pritchard modus operandi.

Here I propose to deal only with the “arguments” of the caterwaulers; the case for or against including the likes of Mahler among the Great Romantics will have to wait ... except to say, paraphrasing Shakespeare: “Brevity is the soul of beauty.”

First, a preliminary question: why does this matter matter? Why do I get so exercised about it? Why can’t I just “live and let live” and leave empty heads and deformed souls alone to wallow in their frightful cacophonies?

My answer: I am perfectly prepared to do that—but they’re not prepared to leave me or any other decent, innocent human being alone. They shove their filth at us at every turn, and I am beyond fed up with it. As Rand might say, "These are the commandos of the haters' army, who crawl out of the sewer of centuries and shake themselves in public, splattering muck over the passers-by. ... The passers-by are the rest of us, who have to live, breathe and work in this atmosphere."

As I said in my RACH editorial:

“They do not rule the world officially but they have taken it over. They have taken over the shopping malls, the shops, the bars and restaurants, the gyms and rugby fields, the interludes between television programmes and even the programmes themselves. Nothing is uncorrupted by these aliens—even opera singers perform with them.

“It’s time to shame these aesthetic thugs into oblivion. Musical masochism is for consenting adults in private; it shouldn’t be sadistically imposed on unconsenting adults in public. Ideally its perpetrators should follow the logic of one of their number, the Slipknot drummer who, when told his was music to commit suicide by, said, ‘We must be doing something right.’ I would certainly encourage that alien and all its fellows to top themselves and leave the earth to human beings.”

Since it’s unlikely that they’ll opt for suicide, unfortunately, it is they who need to be admonished to “live and let live” (if you can call what they do living). They should not be averse to a campaign for the voluntary clearing away of their pollution from places where it’s unsolicited.

Rand said:

"I am not willing to surrender the world to the jerky contortions of self-inducedly brainless bodies with empty eye sockets who perform in stinking basements the immemorial rituals of staving off terror, which are a dime a dozen in any jungle—and to the quavering witch doctors who call it 'art.'"

Well dears, neither am I. When some skunk squirts its filth in my face without my consent, I will punch its snout. And I shall campaign against skunkery in general.

I should say that the reason this essay has taken a while is that it was becoming an academic-style treatise on Romanticism in music. Well, the Internet is replete with such treatises, by people better qualified than I. All I ever intended was an informed layman’s polemic against The Age of Crap as manifest in music, and against the idea that music is somehow exempt from the standard, healthy Objectivist strictures against cultural relativism. Realising I had departed from my brief, I had to start over to get back on course.

I have used Dr. Richard Goode as my foil in this essay because, like Everest, he’s there, and because, in this debate, he is perfect in his immorality. He is quintessential! (I say this in a caring kind of way.)

Cutting to the chase

So why do I feel entitled to pile on value-judgments such as “sub-human,” “skunks,” “filth” and so on in the realm of music? Didn’t Rand herself say:

“Until a conceptual vocabulary is discovered and defined, no objectively valid criterion of esthetic judgment is possible in the field of music … No one, therefore, can claim the objective superiority of his choices over the choices of others. Where no objective proof is available, it's every man for himself—and only for himself”?

Yes, she did. And, I submit, she was wrong.

Note the practical implication of her dictum: that no one can claim the objective superiority of the Tchaikovsky and Beethoven posted on the Van Cliburn thread over the Slayer posted on the RACH thread. This is absurd on its face—but of course, “on its face” won’t do for those who seize on Rand’s statement as an excuse to remain in the sewer. So let’s keep going.

What did Rand mean by “conceptual vocabulary”?

She tells us. Such a vocabulary would explain how a work evokes the emotions it does. “Why does a succession of sounds produce an emotional reaction? Why does it involve man’s deepest emotions and his crucial, metaphysical values? How can sounds reach man’s emotions directly, in a manner that seems to bypass his intellect? What does a certain combination of sounds do to man’s consciousness to make him identify it as gay or sad?”

Why need we know these things in order to pass objective judgment? What difference would it make? That she doesn’t tell us. But she does reiterate:

“The formulation of a common vocabulary of music would require these answers. It would require: a translation of the musical experience, the inner experience, into conceptual terms; an explanation of why certain sounds strike us a certain way; a definition of the axioms of musical perception, from which the appropriate esthetic principles could be derived, which would serve as a base for the objective validation of esthetic judgments.”

Phew!

This, Rand goes on, means we need to do what we currently cannot do in musical perception: separate subject and object:

“In listening to music, a man cannot tell clearly, neither to himself nor to others—and therefore, cannot prove—which aspects of his experience are inherent in the music and which are contributed by his own consciousness. He experiences it as an indivisible whole, he feels as if the magnificent exaltation were there in the music—and he is helplessly bewildered when he discovers that some men do experience it and some do not. In regard to the nature of music, mankind is still on the perceptual level of awareness.”

Now, it is my contention that Rand has set the bar way too high here—we don’t need to know all that in order to judge—and that furthermore, my contention has her imprimatur:

“The deadly monotony of primitive music—the endless repetition of a few notes and of a rhythmic pattern that beats against the brain with the regularity of the ancient torture of water drops falling on a man’s skull—paralyses cognitive processes, obliterates awareness and disintegrates the mind. ... Primitive music becomes his narcotic [that of a modern man brought up as a “mentally helpless savage”]: it wipes out the groping, it reassures him and reinforces his lethargy, it offers him temporarily the sense of a reality to which his stagnant torpor is appropriate.” (Note, incidentally, what she is describing as primitive music is still a slight advance on rap, which was embryonic in her time: rap has no notes!)

If that’s not passing judgment I don’t know what is! So, is Rand seriously arguing that she would then baulk at the final hurdle and decline to pronounce primitive music inferior to Romantic? She already has so pronounced it!

And with good reason.

Romanticism vs. Headbanging

See, “the endless repetition of a few notes and of a rhythmic pattern that beats against the brain with the regularity of the ancient torture of water drops falling on a man’s skull” is a near-perfect description of, to cite a convenient example, the track, “Rain of Blood” by “thrash metal” band Slayer, linked to on RACH. (Apparently “thrash metal” is a sibling of “death metal.”) The piece is certainly melodically challenged. The rhythm is faster than water drops, to be sure, but the way it beats against the brain is definitely torture (which some clearly enjoy, but I’ll come to that). The description omits, since it wasn’t specifically what Rand had in mind, lyrics that are inaudible (and, on further investigation, unintelligible) rendered by a voice that is unlistenable, the voice of someone being tortured. It omits the seemingly deliberate over-amping of the guitars to effect distortion. It says nothing about harmony—but then, there’s not much to say anyway. Overall, the description could easily be of “Rain of Blood.”

By way of cleansing contrast, let us remind ourselves what makes Romantic music Romantic music, and what we know about music itself that permits us to judge.

We know that the primary components of music are melody, harmony and rhythm—and the greatest of these is melody, the ordering of tones. Melody is fundamental. As plot is to literature, so melody is to music. Whistle a tune, unaccompanied (no harmonies), each note equal in length (no rhythm)—it’s still music. No melody—no music. “It’s the toon, stoopid!”

We know that certain simultaneous combinations of tones (harmony), because of the mathematical relationship of their frequencies, are, as a matter of metaphysical fact, integratable by the human brain (consonant) and others are not (dissonant); that this is true for all human beings apart from the tone-deaf; that the resolution of dissonance into consonance helps give a piece suspense, sophistication and satisfaction, a sense of home-coming; and so we may rightly judge the deliberate refusal to resolve for the sake of refusal to resolve to be an act of sabotage and assassination.

We know that in the Romantic period (nineteenth and early twentieth centuries) composers and performers pushed the boundaries of every musical element, primary and secondary, achieving an unprecedented emotional expressiveness while avoiding the descent into the atonal anarchy that followed. New instruments, bigger orchestras; new forms, and the expansion of old forms; the coming of age of opera and ballet; virtuoso stars, like our modern-day “celebs” only with talent; the cult of the conductor; more inventive melodies using bigger intervals between notes; greater dynamic range—fff (fortississimo: very, very loud) to ppp (pianississimo: very, very soft); more daring harmonies (chromatic and dissonant, without recourse to the sabotage or assassination that became de rigueur later) modulating more frequently into other keys; more rhthmic variety, including greater use of syncopation, rubato (bending of the rhythm), accelerando (speeding up) and ritardando (slowing down). They honored but were not straitjacketed by the formalism of classicism, stretching but not eschewing the rules that make music cohere. They exercised freedom within the rule of law—the perfect mirror of what was going on politically. Thus did they bring individualism to music. They were each distinguishable from the other. They united the idiomatic with the idiosyncratic, reason with emotion, Apollo with Dionysus (albeit with a leaning towards the latter—via, it must be admitted, that villain Rousseau). They transformed the “universal language” into an individual language. As one commentary puts it:

“Romantic-era composers kept the forms of Classical music. But the Romantic composer did not feel constrained by form. Breaking through boundaries was now an honorable goal shared by the scientist, the inventor, and the political liberator. Music was no longer universal; it was deeply personal and sometimes nationalistic. The personal sufferings and triumphs of the composer could be reflected in stormy music that might even place a higher value on emotion than on beauty. Music was not just happy or sad; it could be wildly joyous, terrified, despairing, or filled with deep longings.”

We know that, in Objectivist terms, they projected as never before, if not for the first time, man the passionate valuer—their symphonies and concerti were “to strive, to seek, to find, and not to yield” set to music and writ large.

In short, we know that in every important aspect of it one can name, music—demonstrably, empirically, as a matter of fact—reached its apogee in the Romantic era. Romanticism was the culmination of what preceded it, and the transcending of it; it was the high point of musical evolution to date; it was the “total height”—and it remains so. (What came after was disintegration into vagueness, gratuitous dissonance, ostentation, random plinkety-plonk, silly silences and traffic noise.) Not knowing the physiology of how music evokes the responses that it does in us, not knowing how many parts object and how many part subject are involved, cannot gainsay the supreme stature of Romantic music, and its superiority over any modern throwback to “primitive music” such as that of Slayer, which it seems ludicrous to mention in the same breath.

This superiority can also be ascribed, I should add, to the myriad forms of what one might call “mini-Romanticism” such as operetta, musical comedy, jazz (the intelligible kind), pre-80s pop, movie scores, Ayn Rand’s “tiddly-wink music” and so on. The standard pop tune of my youth was a veritable miniature sonata with a clear theme, stated, developed then reiterated (A-B-A), value-orientated (usually about love!) with meaningful if unchallenging lyrics, audibly articulated. Any of the foregoing is superior to Slayer and all other headbanging caterwauling.

Continued...
_________________

Aquarchy Rules. Liquidate the Reds

ANCAPS Forum, Ancapolis, Aqua-Terra Atlantis Division.

Subject: Re: Not all Objectivists Like Rap Mon Apr 28, 2008 2:08 am

Romanticism and sense of life

Now at this point someone might object: “All this is very well, but you’re over-emphasizing the technical and structural aspects of the compositions and glossing over the business of one’s emotional response to them. After all, headbangers can be complex and clever too. And the fact is, whether you approve or not, Slayer hits my emotional spot and Tchaik doesn’t. End of story.”

And of course, it is the end of the story if you want it to be, if you’re content with that. Let’s just not continue to tout the relativist fiction that all music is created equal.

And let’s see what can be observed about the emotional response, since the objector is quite right: that is the whole point of the exercise, and music, like no other art form, gets to the point straight away.

I assume that what the objector and I seek from music is the same thing: what I call value-swoon: “This is life as I see it”—in my case, in the form of a spiritual orgasm born of orgiastic love-making between me, the artist, the composer and life itself. Value-swoon consummated by tears. If there are no tears, I haven’t properly value-swooned. Tears of joy, poignance, worship, “unclouded exaltation” in the presence of gods and the godly, of beauty inexpressible in words. The solemn gaze on Van Cliburn’s face as he looks up at his conductor at the conclusion of the aforementioned Tchaikovsky (Piano Concert #1, Movement Three), having thundered spectacularly up and down the length and breadth of the piano and pressed down the final home-coming tonic chord, says it all. Breathes there the man with soul so dead he cannot behold this and exult: “What a piece of work is man!”? This response, of course, is life-affirming, and so, by Objectivist standards, good. Moreover, it is the response the work and the performance are intended to evoke, so the subject’s reaction is consistent with the content of the object.

Now, it turns out Slayer fans do indeed seek the same thing. Or so they say. Dr. (PhD in philosophy) Richard Goode, Slayer’s cheerleader on the RACH thread, said there:

“Honestly, if you don't feel glad to be alive after a good pounding by Slayer, the Queens of the Stone Age or even Hayseed Dixie, then there’s something wrong with you.” (Note, there’s something wrong with you. Evidently it’s OK to say there’s something wrong with you if you don’t like Slayer but not OK to say there’s something wrong with you if you do!)

But hang on a minute. Pressed by me to explain just how a “good pounding by Slayer” made him “glad to be alive,” Dr. Goode responded as follows:

“Anger. Energy. Passion. Defiance. Catharsis. Slayer are musical genius.”

So, is it anger, etc., that makes Dr. Goode feel glad to be alive, that gives him his value-swoons? I tried to find out:

“Anger about what? Passion for what? Defiance of what? Given that ‘catharthis’ is the release of pent-up emotions, why are your emotions pent up (I did warn you that pomowanking makes one passionless)? Wherein lies Slayer's ‘musical genius’?”

Alas, my inquiries elicited no further response.

But let us assume that the anger is not a justified, discrete anger about some particular injustice or other, else Dr. Goode would have mentioned it; it is a generalised, metaphysical anger at life itself that makes Goode feel good!

Now, remember what Rand said about the way music affects us:

“Psycho-epistemologically, the pattern of the response to music seems to be as follows: one perceives the music, one grasps the suggestion of a certain emotional state and, with one's sense of life serving as the criterion, one appraises this state as enjoyable or painful, desirable or undesirable, significant or negligible, according to whether it corresponds to or contradicts one's fundamental feeling about life.”

In the case of Dr. Goode and Slayer, he perceives their music, grasps the suggestion of anger and defiance and appraises it as enjoyable, desirable and significant, since it corresponds to his fundamental feeling about life. He says, “This is life as I see it.” Which, I respectfully submit, is anti-life—and the anti-life, need I point out, is, according to Objectivism, bad! Calling it and what evoked it “inferior” is letting it off lightly!

Inferior Music and Philosophy

None of this occurs in a vacuum. It’s no coincidence, but rather entirely congruent, that among Dr. Goode’s other pin-up boys is the philosopher David Hume, who taught that concepts, the means by which human beings make sense of reality, have no basis in reality; there are just brute facts, and the act of integrating them into concepts is entirely arbitrary.

Here’s Rand on Hume:

“When Hume declared that he saw objects moving about, but never saw such a thing as ‘causality’—it was the voice of Attila that men were hearing. It was Attila’s soul that spoke when Hume declared that he experienced a flow of fleeting states inside his skull, such as sensations, feelings or memories, but had never caught the experience of such a thing as consciousness or self. When Hume declared that the apparent existence of an object did not guarantee that it would not vanish spontaneously next moment, and the sunrise of today did not prove that the sun would rise tomorrow; when he declared that philosophical speculation was like a game, like chess or hunting, of no significance whatever to the practical course of human existence, since reason proved that existence was unintelligible, and only the ignorant maintained the illusion of knowledge—all of this accompanied by vehement opposition to the mysticism of the Witch Doctor and by protestations of loyalty to reason and science—what men were hearing was the manifesto of a philosophical movement that can be designated only as Attila-ism.”

Here’s Goode on the significance or otherwise of philosophy, in a SOLO exchange with James Valliant:

Valliant: As a philosopher, can you tell me what the practical upshot of your work is, i.e., its implications to human life?

Goode: Hahaha. You're kidding, right?

Stretching too long a bow?

Hume was a destroyer. Slayer, whose headbanging has included “songs” sympathetic to the 9/11 terrorists and Joseph Mengele, are destroyers. And all other headbangers. They are Hume’s chickens come home to roost. Richard, who claims there is no basis in reason for freedom, is an enabler of the destroyers (I grant he’d be horrified to think so). All three are archetypes. Hume, the clever/stupid philosopher, for whom logic and facts ne’er will meet; Goode, the modern “cool” sophisticat, monotoned and sardonic, getting his kicks from clever-dick nitpicking and word games; Slayer, the ugly reality behind the philosophers’ pseudo-civilized veneer, like so many “metal” bands of whichever variety—“thrash,” “death” or otherwise. It’s useful and instructive to see them all appropriately aligned—all nihilists together in this post-modern Age of Nihilism.

Conclusion

Nihilism is as objectively bad in esthetics as it is in any other realm—and in music as in any other part of esthetics, Rand notwithstanding. Appraising a positive response to musical nihilists as good, as Goode does, is bad. These animals intend to purvey ugliness and mindless rage and like nothing better than the perverted value-swoon of the nihilist, the pomowanker’s snicker of approval. Again, the subject's response is congruent with the object's content.

We all hear the same thing. We all recognise deliberate ugliness and rage for ugliness’s and rage’s sake, just as surely as we all hear a minor chord as somber and a major chord as cheerful. It’s our responses to the ugliness and rage that differ, and the issue here is: evaluating the responses. It’s a question of values, not physiology. Life-affirming values = good; life-negating values (anti-values) = bad. So, if you respond with approval to deliberate ugliness and gratuitous rage, then, in Dr. Goode’s immortal words, “There’s something wrong with you.” And that’s a fact.

I’m reminded of a painter friend from years ago who read The Fountainhead. He got it. He understood it as well as I. But he chose to blank it out, because, “If I take it seriously it’ll turn my life upside down” (his life being in thrall to axe-through-head tutors).

In his exceptional SOLO essay, “Something Better than Rage, Pain, Anger and Hurt,” Peter Cresswell exhorts:

“Music is our food of the spirit. So do try to be careful what you eat.”

This admonition doesn’t mean we all have to like the same music any more than we have to like the same food. It means we should eat food rather than feces.

Musically speaking, we have whole generations eating poo and militantly relishing it. It ill behoves Objectivists to tell them there’s no objective reason not to do so. Objectivism is nothing if not a command to rise. To those addicted to feces but wanting to rise from the sewer, I commend Mr. Cresswell’s essay. He knows whereof he speaks. He has himself risen!

Just these last few days on SOLO, artist Michael Newberry has recounted the story of someone who presented plastic-wrapped blood from her miscarriages as an artwork, and asked:

“Many of you here are freaked out about the possibility of radical Muslims taking over the world. But what is it that could weaken the West so much that it could fall victim to a primitive anti-modern society? When I see America, I see and experience many great things, lots of freedoms. It's much easier to do what you like here than in the other countries I have lived in. But, I also see the postmodern art world everywhere, with its cynical, disintegrated, anti-conceptual mind-set, and pathetic sense of life. That is America too. What if art plays a major role in the health, flourishing, and spirit of country or a culture? If that is so, aren't we more in trouble from the inside than the outside?”

We’re certainly in trouble from the inside. I quote finally from my inaugural speech at SOLOC 1 in 2001. The "jungle cacophony" alluded to is Eminem—I had just compared Johann Strauss and Eminem as exemplars of two contrasting cultures, antipodal pop icons, one danced to by human beings, the other jerked to by the eyeless-socketed ones:

“ ... get out there in the marketplace and promote good art as zealously as you promote good philosophy, both being necessary for the preservation of freedom. The tide is against us at the moment—wherever we turn our ears are assaulted by jungle cacophony of the kind we've just heard. In the visual realm … well, we've just been reading on the SOLO Forum about the Canadian artist I alluded to earlier who won a prestigious award for ejaculating into vials; there was the Turner Award in Britain, recently bestowed on someone whose ‘artwork’ was a room with an electric light in it. These abominations are a dime a dozen right now; it is, as I often say, the Age of Crap. I want SOLO to wage an intellectual war on it every bit as relentless as the physical War on Terrorism.”

That war should include the unabashed proclamation of Romantic music’s objective superiority.

Romantic music is composed and performed by the heroes in our midst. It is appreciated and adored by the passionately enlightened. It is inspired by and inspires the most intensely life-affirming value-swoons currently possible to man. It’s simply the best.

And that’s a fact.

LNK
_________________

Aquarchy Rules. Liquidate the Reds

ANCAPS Forum, Ancapolis, Aqua-Terra Atlantis Division.

Subject: Re: Not all Objectivists Like Rap Mon Apr 28, 2008 5:34 am

More degenerate, unnecessary, useless verbiage, from that overblown, intrinsicist 'objectivist'... would make a fine manure export from NZ though...

The whole rant essentially represents his subjective choice, which he seeks to justify and fortify by using Rand... and with whom he says he disagrees! Bwahahaha!!!!

He doesn't even know for sure why music, above all other forms of art, touches people so deeply... so I'll tell him myself: Fats, the reason is simple and has been scientifically determined... it is because humans are basically made out of water! Yes, that's right, because our constitution is essentially, H2O.

Sound waves penetrate and affect us, more than a visual perception... say in a magnificent painting...so let's be done with this uber-analysis of everything from tears inducing composition... all the way to your fucking pathetic conductor... who has to be one of the most useless props in an orchestra, that has ever graced a stage...

But when he starts interfering with trade (promo/marketing/sales/etc...) he really crosses the line... you know... his demand that he not be, in effect, "assaulted" by "UNSOLICITED" cultural "junk!" Hey fats, if you don't like the sound... STAY THE FUCK OUT OF PLACES WHICH PLAY IT! Yes, that includes shopping centers! Moron!

You'll wage a war against rap??? Good luck with the few billion which like it... myself included! Clueless fuck!

Like all frigging statist objectivists, if only we'd just accept all his presuppositions, then he would nail us... and which is why we won't! Arrivederci motherfucker!

PS. Just listen to this statist drivel: "They honored but were not straitjacketed by the formalism of classicism... the rules that make music cohere. They exercised freedom within the rule of law—the perfect mirror of what was going on politically. Thus did they bring individualism to music."
So it's individualism within the rule of law! Bwahahaha!!! Pathetic!
_________________
"Taking money without permission is stealing unless you work for the IRS then it's taxation. Killing people en masse is homicidal mania unless you work for the Army then it's National Defense. Spying on your neighbors is invasion of privacy unless you work for the FBI then it's National Security. Running a whorehouse makes you a pimp & poisoning people makes you a murderer unless you work for the CIA then it's counter intelligence." R. Wilson. ANCAPS Forum Headquarters, Ancapolis

Subject: Re: Not all Objectivists Like Rap Mon Apr 28, 2008 5:40 am

"But when he starts interfering with trade (promo/marketing/sales/etc...) he really crosses the line... you know... his demand that he not be, in effect, "assaulted" by "UNSOLICITED" cultural "junk!" Hey fats, if you don't like the sound... STAY THE FUCK OUT OF PLACES WHICH PLAY IT! Yes, that includes shopping centers! Moron!"

Thumbs up

_________________

Aquarchy Rules. Liquidate the Reds

ANCAPS Forum, Ancapolis, Aqua-Terra Atlantis Division.

Subject: Re: Not all Objectivists Like Rap Tue Apr 29, 2008 11:58 pm

PS. Just listen to this statist drivel: "They honored but were not straitjacketed by the formalism of classicism... the rules that make music cohere. They exercised freedom within the rule of law—the perfect mirror of what was going on politically. Thus did they bring individualism to music."
So it's individualism within the rule of law! Bwahahaha!!! Pathetic!

Ugh!! What a ludicrous analogy!!

Music notes

_________________

Aquarchy Rules. Liquidate the Reds

ANCAPS Forum, Ancapolis, Aqua-Terra Atlantis Division.

Subject: Re: Not all Objectivists Like Rap Wed Apr 30, 2008 12:20 am

The irrational randroid is a

dead fuck...
What he needs is a speedy product recall, so we are not exposed to his unsolicited ramblings...

PS. Damn... he looks like him too... fat fuck!
_________________
"Taking money without permission is stealing unless you work for the IRS then it's taxation. Killing people en masse is homicidal mania unless you work for the Army then it's National Defense. Spying on your neighbors is invasion of privacy unless you work for the FBI then it's National Security. Running a whorehouse makes you a pimp & poisoning people makes you a murderer unless you work for the CIA then it's counter intelligence." R. Wilson. ANCAPS Forum Headquarters, Ancapolis