Monday, February 15, 2016

Ab Hoc Veritas Contra Fraudulenta Phantasmata

I love Queensrÿche's earlier work. And since I'm not 1 billion people's "Papa", nor pretending to be anyone's, I can come out in full regalia and say that It is what it is. Or, it was what it was. Or it resembles something it might represent. 

Some of the lyrical content of Tate's Queensrÿche album is interesting, but it has a different color of energy of his former content, while keeping the same tone and mood. The music is sort of flat and lackluster, but it is not destructive to the ear, nor pretentious. It simply accommodates the sound that Tate wanted to achieve, which is for some, including myself, not really what I like in accompaniment with his voice. But all this is not enough to exactly justify hatred on the scale which is being directed at Tate. Metallica among others feel free to change their sound, which is to say, simply speaking, express their ideas through the art of music. Why is Tate not allowed to take his Queensrÿche his direction? So since everyone is so good at hating him, there develops a proportional interest in hearing the story behind that. And hence we have arrived here, at the end of the great and dramatic enigma of a bitchfest that is simultaneously this colorful aggression

The subject matter at first blush borders on ego-sausage, yet the expression against Tate's Queensrÿche has varied from the base and crude all the way to the subtle and overly embellished with  the last example containing irony brought to near-perfection. It presents the story by making the saying of an extreme position exactly, but in the opposite tone, and so is crafty rhetoric. Would that his talents were exercised deflating the egos of far greater frauds than Tate, or certainly more of one than he could hope to be given these premesis (that of an acrimonious conflict of interests with his former band mates), even if the story were as presented. If the critic found in the last link given above were capable of setting his sights higher, maybe way higher, then the world might be redeemed from some of its ancient tarnish, or its tarnish, at least, might be more brightly polished. Hard to say. Worldly talent is something beautiful to behold, and to exercise. But the gravity of life and death cannot be captured in the drama of these men's lives when the mass of the world weighs in upon it. Are people's greatest enemies people with big egos and bad taste, as such? They are merely playing roles along with their even better or worse counterparts. Together they dance to the strings of the Demiurgos. 

And still Diogenes searches in vain. Even when seeing glimpses of reality in the glimmers of men's talented striving. But these ironies must break down at some point, leaving only what is truly not in vain. What remains is genuine. For example, giving this account the best possible interpretation, the corresponding "Real Queensrÿche" must have one really kick ass album. It should make me want to kick someone in the balls if they insult its glorious euphony. This can be empirically tested. If it is found untrue, then this narrative is exaggerated, at least by that much. But I'll throw that up to the subject's lack of gravitas "throwing the curve" on the metaphysical returns. Otherwise, it seems unsafe to demonize one and lionize the other. At least it loses its appeal merely on this basis, per lack of personal investment, at least if it is found that the "Real Queensrÿche" is well-packaged, but mundane content. Then again, this would be true if the "Real Queensrÿche" were either one of the candidates, or neither currently applying for the glorious post. The empirical evidence weighs in which indicates that the "Real Queensrÿche" resonates with both the form and the substance of the "former" Queensrÿche. The form comes right through in the opening seconds of any of their songs, quite in contrast to the amorphous noise that constitutes the lesser version of Queensrÿche. Also the content is, from the titles alone, more substantive than a huge mass of the lesser version of the band's lyrics. As to the actual form and content of the lyrics, the real is well-distinguished in its essence as distinct from its lesser echo. Since substance is positive for the Real, and therein all the value lies, the opposite partisan is seemed not to have been done any disservice by this video. Even without adding the possibility of the Tate's vanity and violent narcissism. Certainly all of the significant talent is to the credit of the real Queensrÿche, with the provision that it change the spelling of its name to "Queensreich" in order to completely divest itself of any sign of cowering to Zionist delusions of persecution. That alone would complete their status so that they could be ordained "The Real Queensrÿche". The last stage in their transmutation into their present glory, which I have merely cataloged metaphysically. But while the implications are not immediately so cosmic as all that, there is a true integrity to Queensrÿche which, considered as an abstract entity, maps onto any issue of distinguishing the Real from the fake. So as an exercise in metaphysics it has been an excellent opportunity to make use of triviality, in the proper sense of the term, in order to augment the philosophical heuristics which can make this molehill into quite a mountain.

But in fact I aim to demonstrate how a mountain was strangely whittled down to a molehill, by means of the world's preoccupation with false appearances, made possible only by the corresponding deflation in value of substance, and hence of substance itself, metaphysically necessitated by the evidence and the proper metalogical inferences.

The mechanism by which this has been accomplished constitutes direct evidence concerning the far more sinister evil fraud which I have been exposing in its vile and ugly essence now for years, with brief interruptions, sometimes long ones, but with never-decreasing precision, relevance, and I do hope with the most venomous impact possible upon the culpable party in a cosmic war, celebrating its own depravity while torturing and murdering the honest.

Diogenes would still be at a loss to find an honest man, even today. But he might find a loyal dog or two. By the light of this Truth I see through all fraudulent phantoms.

Ab Initio. Ab Finito. In Praesenti. Ante Aeternitatis. Post Aeternitatis. Pro Aeternitatus.

In Addendum:

Tate's "Queensrÿche", now called "Operation Mind Crime" (yes, the name of one of the "old" Queensryche albums) lacks the form I prefer from his former work with those who formed "the other" Queensryche, which is now the only band by that name, the one with Todd La Torre on vocals. And while his content is looking up to form so far, it doesn't readily offset the loss of the musical power that is now tangibly missing. It doesn't match the relevance of the content which is to be found in the actual Queensryche lyrics. In a twist of irony, "the other" Queensrÿche sounds rather like the old Queensrÿche, but now faded into an uninspiring approximation of "what" Iron Maiden sounds "like", enveloped "in a post-grunge sauce", but without any interesting content, at least none I can make out with the ear, unless I read the lyrics, although I'm not so inclined based upon what I can make out. Strip it of its post-grunge disfigurations, and its attempt to reproduce Tate's voice, and it is the perfect sound for Tate's current Queensrÿche version, with its (for moi) lackluster sound, albeit recognizable content and discernible lyrics.

While at first I might seemed to have given "better claim" to the "new" Queensryche, which is the "non-Tate" one, I found later that in fact Tate's band changed its name, and that as to which carries forth with more "Queensrychiness", I just couldn't care. The "Real" Queensryche died for me after Operation Mindcrime and Empire. I preferred the former back in those days, but the latter has more appeal in light of a better understanding of world events. It seems both offshoots of the old band (for offshoots they both are), have kept a good sense of substance, but we see a hint that OMC was more Tate's, and Empire was more the rest of the band's legacy. As to lyrical content, I like both, as to musical form, neither. And since the latter is what distinguishes music apart from poetry and prose, I basically stopped listening after Empire.

But if this all signifies something more than a hurricane in a teacup, it is that the viciousness brought against Tate does not justify any delusions about his, or the other party's music. And if something is at stake beyond that, which has to do with how the band members got along, I don't care as that is a matter for them to settle among themselves. In the grand scheme of things it has significance in revealing that the part resembles the whole, and it reveals this in an important way, no matter which party is selected as "The Real Queensrÿche". Equivocation is the major mechanism of fraud, and conflict is a product of antivalence, and both involve an unjust and untrue displacement of form and content relations so that there is one Real Being and one fake parasite upon it, and both parties in that Real Conflict have a great deal at stake. I'm just not certain that the question of who now is Queensrÿche is as important as the death of the spirit of its former self. The loss of that is what impacts both remnants. In this inflated drama the substance is not sufficient to merit any further consideration beyond what can be salvaged from it on a metaphysical level. That consideration is far greater than what the various contestants in this lesser conflict seem to inject into it, which they do to a degree far beyond what is reasonable.

It seems that the critics (except for me) deserve the shortest end of this stick.

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