Are you raging? (1996) album: “Rage Against the Machine”
Are you raging? This is a substantive dissection of a 1996 US-released music album.
Writing this blog post excites me tremendously. There is a moment of immense inspiration – as one’s study of history begins to contribute to the sense-making of one’s own present state of reality. Realizing these realities, informs one with the reasons for one’s past emotional involvements and trials – which none of us one can entirely escape anywhere in this current existence.
Let me preface: there is no way that anyone can come to these kinds of personal realizations all by one’s self – let alone quickly. That’s because life is a mystery with all sorts of strange connections, twists, turns, secrets, and understandings. To be young and naive, is not an excuse to remain such.
So what am I talking about specifically?
O.K., let’s be relatively superficial to begin with, so as not to get too deep into all the details of this artistic and political analysis too quickly.
We human beings are products of our ancestry. Geography, ethnicity, political conflicts, and arts – in no way minimize the extent to which and to how we behave (and who we become). Our parents are our first and rightful influence to our growth. If you agree, at least in part, keep reading.
Today, I learn about someone with intense passion, anger, poetics, and inner conflict; but, also uncompromising insistence for fairness. This person crosses over from therapeutic anger – into militancy (as portrayed in his lyrics of 1996). One has to decide for himself, if artistic “expression” is really mild propaganda, just a power trip, a concerted effort at exacting revenge, or even call to arms. Because of our freedom to speak, we are glad to have our freedom to think as well. So, let me think.
Let’s start with pre-1996. My earliest recollection of music exposure from my mother, was European classical, American (Californian) folk music of the 1960’s, and American smooth jazz listening – which I found on the radio. A few years later, I discovered music that was Brit Pop/Australia Pop – which to this day has remained my primary favored genre. Giving way to electronica and pop, I find that exciting as well. As a child, I was also introduced to 70’s rock (smooth or rough) – which to this day I enjoy, as I do a little bit of blues on rare occasion. But, the 1990’s were unique. 1990’s gave way to some intensely angry or intensely escapist rock music. This was even so in the years prior to hip hop going mainstream the same decade, in large scale.
I bought (years later) an album, published in that year of 1996. Not at all a jaded youth in that year, excited about college and all my opportunity, this album’s tone in 1996 was antithetical to my own vision of the future during 1996. But, it was spot-on by way of looking back at disparities in the lives of those born to my generation. All of us “Gen-X” and many “Gen-Y” began to wonder whether we were expected to shoulder burdens that were not ours. We were becoming lost.
A single track played often on the radio – by a prior album release from the same band, left an impression on me. It was one from the band “Rage Against the Machine”.
This track, was infectious. It wasn’t necessarily a “trailblazer”, as so many bands found unique (but similar) voice before and after its release. And, much of the music then (lyrically and in tonality) was dysphoric and alluring both.
Almost seven years older than I, and born in a neighboring Long Beach, CA, Zack De la Rocha (band’s front man singer and songwriter) created hard driving and aggressive music that makes one wonder little, how it is that he is the “grandson of European maternal heritage and Chicano paternal heritage.” (see: https://en.wikipedia.org/wiki/Zack_de_la_Rocha) Friends, that is the same ancestral mix as my own.
Zack, has revolutionary blood in him. And, his own lyrics have been revolution.
Clearly, militancy from citizens is not something that governments and established authority (including the Church) typically enjoys confronting. And, the 1990’s were “chalk-full” of many bands that tested authority. This was exhibited in hard core “gangster rap” genre that had origins in disco style hip hop, “grunge”, “hard rock”, and all the fusion types of music styles that were off-shoots or hybrids of the just mentioned genres and other more obscure experiments. It seemed that all US home-grown musicians were interested either in euphoric escape, psychological angst, or aggression against established authority.
How music can teach history. And, how artists can depict history!
Today, literally, for the first time… I learn all of this about De la Rocha. So, I’m going to start with you, where I started today in learning about him. Let’s gloss over his own lyrics from his 1996 album.
While less musically seductive than their prior album(s), ‘R.A.T.M.’s’ album from 1996 is substantive in meaning and is undoubtedly aggressive. I can imagine how it might incite fear, but mostly it is tragic. Also, a bit vague, cryptic, and poetic. Note that while my summaries of the songs might be accurate, the lyricists meanings are his authorship; and my interpretation of them my own. These are my impressions; and, you would have to know from him the truthful meanings. Note, that ‘R.A.T.M.’s’ message also cites history to argue support for that anger – when it was made and released. So, this gives evidence and context to the lyrics of (Zack De La Rocha).
Song 1: Opposition and resentment expressed due to the Spanish defeat (via Cortes) of the Aztec empire circa 1600’s. For more information see: https://www.britannica.com/biography/Hernan-Cortes
Song 2: Expository blame against US and Western dominance in world affairs, during that time of the album’s creation, in defense of those conquered; with its (USA’s) imperialism connected to the past Spanish empire and other European world powers.
Song 3: He blames, more broadly, what he sees as (1) idolatry in the USA, (2) media “worship”, (3) systems of mass incarceration of those who cannot defend, and (4) claims that tyranny was controlling the masses.
Song 4: Not exactly sure about this one. Poetic. He levels blame and insult against “momma’s boys” it seems; and what he sees as a “fatherless society” primarily raised by mothers to become lesser men themselves.
Song 5: Similarly, critical, about people putting faith in “unstable” superficiality; a false security in “shifting sands” of merely a perceived order and “fake” promises of good future to youth.
Song 6: He says that with deaths and war, part of truth dies – part of history is gone. Futility. He (no one) can hide, as already “dead with those who were killed”. His message can be further explored – contrasted and compared – with the original writings and philosophies of Friedrich Nietzsche. For more information on Nietzsche, read: https://plato.stanford.edu/entries/nietzsche/ and https://en.wikipedia.org/wiki/Friedrich_Nietzsche
This album has some single word references that you can find online.
Quite prophetic (whether intended or not) is a line in Song # 9 in which I quote: “The masked ones cap one NAFTA commin’ with tha new disaster and yes we in with tha plan de ayala kin”
1. Could the “masked ones” be us – now 24 years later? Healing from “Coronavirus” and preventing infection from it? Does becoming ill create conditions for servile nature to a ruling class?
2. Could “one NAFTA commin'” be referencing the re-negotiated trade pact, between North America and Mexico in this decade?
3. What “new disaster” might be prophesied here in the same line of text?
4. And, what is the “plan de ayala kin” (translated as the: “plan of the children of ayala”)?
5. Is such a plan, to create a new working class of people (treated for virus) to then be there to serve the global agenda as a newly formed laborer class? – “Disposable” to a multi-national family (aka corporate conglomerate)?
I looked up the word “ayala” online – to find that it is the name of a present day Spanish company. A company that claims to best business practices according to its principles of social justice. It also prides itself on; and is awarded for structuring its earnings model like a “family brand”. A ruling elite? This sounds a bit like a slave-owning plantation family of colonial America. Without knowing anything about this in depth, upon visiting their website, I did see the photos of their World Trade Center modified: for patients of the virus. It looked to me a bit like “free” room-and-board in a “chicken coop” of sorts. A dormitory, for otherwise impoverished and “hopelessly” desperate individuals now out of work AND ill.
I believe that artists have moments of inspiration in which prophesy can be revealed. I wonder if my interpretation is inventive, or, if this is what De la Rocha had some divinely inspired insights on, so many years ago in 1996. Let’s take you back to song number 6 now and progress to the end of the album.
In Song # 6, he also references the Laos (country) crisis of the 1960’s – which former US president J.F. Kennedy was involved in while president. At that time, Kennedy was deeply involved in Communist suppression missions, as were a coalition of nations. Catholic, this is usually the standard position taken.
The seduction of socialism or communism, is tyranny in effect. It is fascism advanced by far left militancy. The claim is that equality and fairness can be “restored”. But, that is a myth. I contend that some of the anger which these systems claim to subdue, actually promote the very agitation they seek to remedy. Especially, even more – once it is self-identified as perpetuating the very same internal frustrations remaining unsolved; and inevitably becoming worse… once pursued by such design.
The reference De la Rocha makes to Kennedy, is much more subtle in point than I make out however. His suggestion (I think) is that it is a fact of life and death, that a lost truth “dies” along with a person (in this case Kennedy at the time of his assassination). His contention is that people take secrets to their graves – whether they be radical figures or not. And, I believe that De la Rocha expresses frustration about concealment of truth (in this song). He did cross over into justifying violence for political means, in his lyrics of that album. That is not unique to his art only, but his is undeniably overt in that mission. As I said, many 1990’s artists’ lyrics were full of blood, hatred, vindictiveness, or escapism.
(For more information on Kennedy and Laos, see: https://history.state.gov/milestones/1961-1968/laos-crisis ). This information summarizes the conflict between governments – seeking to subdue rebellion through Western ideology (often perceived as unfair and unbalanced) vs. those who were seeking order in their countries through communism (erroneously perceived as being a fair structure).
Song 7: A very resentful message about “haves” and “have nots”; “view of exploitation” and a “rigged system”. Likening school yards to “prison yards”-which is not all that uncommon to observe today in 2020. Citation of slave trade and America’s civil war. Death. Implosion of Constitutionally backed rights, as some of them are defended while others not. So, he takes up murder and mayhem. He cites socialism as the fix and remedy. He wants control of manufacture, not the product it makes. He fears total loss and no upward mobility – just death. Interesting contradictions are made.
It’s very important to recognize that all artists’ works are a “time capsule”. Artists change and mature – and so I recommend that you look to what he is doing now. Is he wearing American clothes brands? Is he willfully and peaceably attending public events? My point is, he’s not left the USA for Cuba – so he must not entirely reject the USA. He’s not left to go live in Communist China either.
In a similar way, I too have matured from my past artistic creations. I’ve changed views, returned to some, and gone away from others.
Song 8: The same as song 7, but more specific in terms of a person’s “loss of identity” – which he attributes to a decline of individual freedom and a general inability to “maintain” financially speaking. He narrates his own definition of “free trade agreement”, which is “his life and labor”, “in exchange for his wife’s life elsewhere.” He references “mind control” industry – (“luminoso”) – which is the name of a present day company also: (luminoso.com). It is not known to me if he references that company either. He goes on to lump his adversaries in with fascists of 1940’s, and then he chides whom he views as modern day artistic “sell-outs”. Clearly angry with any authoritarian structure that was ever known – except perhaps the Aztecs – De la Rocha exhibited an inner emotional conflict between anarchy that is yearning for social equality on one side, and, a well-disciplined (compassionate -though not freedom sacrificing) society on the other side. I believe that he wanted both at that time (or neither).
Song 8 is much where I see some Americans even to this day (24 years after his album was released). That’s a testament to his artistic relevance. Or, societies’ focus on its message.
Song 9: This song is clearly a battle-cry. Severely haunted by innate racial distinctions and/or inequalities, cultural domination by powers, class divisions, perceived decline in personal liberty, the lyricist seems to predict an emergence of a new ruling class. One, that is (now 24 years later) arguably mostly set by the “hands” of multi-national corporations and manipulation through hunger and biological dependence. Complaining at that time, of what is (or was) military imperialism, the singer and songwriter has taken a Malcolm-X strategy (as opposed to the more dove like late Dr. King). He also references becoming like “Cisco Kid” – who according to site: https://en.wikipedia.org/wiki/The_Cisco_Kid , began to kill people “for sport”.
Song 10: This song is bombastic in tone – also a revelry in having defeated the enemy through violence and revenge. Or, did he? Calling upon the far left, he writes about having turned the tables against his enemies and feeling a sense of calm. It’s intimidation and malice. But does it pay off? Let’s see in the last song on the album # 11.
Song 11: This final track of the album, is gruesome. Its words claim that even in a perceived victory, he and everyone is still not healed. Demonstrable of: a failure (by radical revolution) to punish a more righteous yet also flawed rule, to replace it with a “righteous” rule. Is this a song of bleak prophesy after successful revolution? Or is it a bleak prophesy after “his” failed revolution? It references schools again as “prisons”, teachers as “fascists who separate the healthy from the ill”, “scales” being set to weigh everyone according to use and perceived value, Dachau’s death camps (as if he were in one) – because he’s under control of “the right”. And, he again most assertively “passes his shells (bullets) to his classmates” clinging to “his own cannon”. He concludes the lyrics with “wit tha five centuries of penitentiary so let the guilty hang in the year of the boomerang…and now its upon you.”
He makes himself the guilty, and his enemies the murderers – provoked to attack him – clutching his own cannon as the ultimate provocation and defiance unto death. As he prophesies that it will happen in “the year of the boomerang”, he provokes “his” martyrdom. Album is then signed off with “guilty parties”, and the names of his 3 other band members. This clearly indicates their identification as being the victims, to the end through and through.
Fortunately, the writer is still living today. Fortunately, freedom of speech has been protected. Many have embraced his lyrics as a “blueprint” for reform and revolution here. Are the lyrics prophesy at his lips? Prophesy that is still unfolding? Or, were they his past true objectives, having come to fruition or failure?
One could argue that the lyrics are exposition of crisis. And, that would be fine for someone to posit. What cannot be ignored, however, is that the sentiment was real. His words are born of contentious feuds born in the past. Exploitation of workers, and injustices are still here with us.
In closing, I continue where I started. With my absolute enthusiasm to write on such a dark topic. Again, that is because it is of high intellectual value for readers; but, also because this journey today, led me to the brief biographic background of actor Joaquin “Leaf” Phoenix as well.
(https://en.wikipedia.org/wiki/Joaquin_Phoenix) cites that in 2019 (last year), his Oscar winning performance as “Joker” – exemplifies a terribly tragic reality also. ‘Joker’ (2019) is a film which depicts human insanity (evil manifest), at a time where outside of artistic portrayal, mass violence really has/had been occurring at an alarming rate here in the USA. This is exactly what R.A.T.M. was singing about and/or prompting.
Much like “Cisco Kid” who killed without remorse, the story of ‘Joker’ (2019) is described by wikipedia as being based on “Batman: The Killing Joke” (see: https://en.wikipedia.org/wiki/Batman:_The_Killing_Joke).
So what is our practical answer to the circle of violence that still torments us? Wise people claim, “violence begets violence”, though “it must at times be used by just authority as last resort”. And, we must recognize that unless we refrain from teaching children how to think about peace, we will have more of it (violence) emerge. People will come up with many more just reasons for it (violence), unless we become less militant and more charitable.
There’s something to be said through ideology, also. Attempting to restrict people’s exercise of the liberties given us by God our Creator – for the sake of denying another, also breeds hostility and rebellion. That’s something that radical dissidents (far left or right) of all political leanings seem to agree on… as a baseline of thought, even if they are atheist. Trying to create fairness by breaking a virtue, does not result in social equity. In truth, doing that is exactly the myth of communism and other designs of false hope and false expectation settings.
In the start of this post entry, I mentioned, that we are all shaped by certain conditions and experiences – handed down to us by our ancestors and bloodline. They are conditions that we inherit – not choose. We have to make the best of those circumstances and patiently grow.
Born almost exactly 2 years before me, “Leaf” Phoenix and I also share some ethnic heritage and geography – like Zack. He and I both are “son of American parents from the U.S. mainland”. Both our fathers are from California (“originally”). We also share remote French and Hungarian ancestry, as well as more recent German descent (though his is paternal, while mine is maternal). For me, it is German, from my originally German mother – who attained her US citizenship proudly and gratefully, some time after 1955.
Zack de la Rocha and I share maternal side German descent; and, he very well could have some Iberian region descent [through his Chicano father (as I do)]. Or, his bloodline could be originating from a strictly “indigenous” bloodline (as his music does suggest). But, for me, from my paternal side, we know of French and Spanish bloodline influence. This is because we know of Europeans’ and new Americans’ colonialism in Mexico from historical record, and the oral tradition of my own family.
As for the effects of the artistic content written about here today, though its effects are still etched into my memory, I try to avoid listening to this music because it simply doesn’t make me feel very happy. Some good music does come from Cuba I’d like to add! Which is an interesting truth, considering that Cuba’s regime was/is communist!
Some may ask innocently, [How can poor people in one country be “happy” while “poor” people in another one are “unhappy” as indicative in their music]? I think it has to do with feeling as though one is being tricked by the ruling class system. This seems to be the assertion of “R.A.T.M.” (1996).
I’d like to think today, that “Leaf”, “De la Rocha”, and I, are doing better now in America’s 2020 – compared to America’s 1996.
Even “free countries” cannot survive unless we are individually vigilant, critical of power, and frequently ready for small battles that protect every God-given right that we know of. We also have to know our own history, lest someone else tell us it went another way. And, finally I suggest that we continue to make ourselves useful; because, while by our nature we are never obsolete, we also should not forget that machines can do a lot without us now. That is something to “rage” about.