A Quote by Mick Barr

Black metal seemed way deeper than anything else, and I kind of got addicted to it. — © Mick Barr
Black metal seemed way deeper than anything else, and I kind of got addicted to it.
I'd always liked movies in a kind of naive way. They seemed no less improbable a career than anything else.
I buy some black metal records kind of blindly, and I end up really liking maybe 30% of them. There's a lot of duds, for me at least, in black metal. I have kind of picky tastes about it.
I can identify many different experiences that I've had over the course of my life and things that I've witnessed where it seemed that black men, specifically me or someone else may have got the, you know, different treatment than somebody else would in that same situation.
I say it in the writers' room all the time: My black is not your black. What's terrifying is that, just the same way we've all accepted that normal is white, everybody seems to buy into the idea that there's only one way to be black or one way to be Hispanic. That's as damaging as anything else.
I was listening to a lot of Norwegian black metal and death metal. There's a great history to Norwegian black metal. That music is very dark and violent, but it's also beautiful.
I hardly follow the Finnish metal scene at all at the moment. I'm more interested in traditional '80s heavy metal, and I'm still a little scared of black metal and death metal and their provocative imagery.
I love leather and I love lace, but not necessarily together. I'm probably happiest in a long black velvet dress, black suede boots, and some kind of really beautiful wrap than I am in anything else. I don't even own a pair of jeans.
I wore a 'Black Metal' Venom T-shirt once, in January 1993, to promote black metal, and I regret having done that ever since.
I am inviting you to discover that deeper than any pattern, deeper than personality, deeper than success or failure, deeper than worth or worthlessness, there is a radiance that is undeniable, always present - the truth of who you are.
I got hooked on TV westerns back in the early sixties when I was about five, mostly because my brother was addicted to them and wouldn't let me watch anything else.
There's no reason why you can't say "August Wilson, playwright" even though all of my work, every single play, is about black Americans, about black American culture, about the black experience in America. I write about the black experience of men, or I write about black folks. That's who I am. In the same manner that Chekhov wrote about the Russians, I write about blacks. I couldn't do anything else. I wouldn't do anything else.
Black metal - especially from the '90s - contains a certain production aesthetic that keys you into the emotive content. You feel it more intimately than, say, technical death metal, where everything is produced super-precisely.
I am no friend of the modern so-called 'black metal' culture. It is a tasteless, lowbrow parody of Norwegian black metal circa 1991-92, and if it was up to me, it would meet its dishonorable end as soon as possible.
I suppose for me as an artist it wasn't always just about expressing my work; I really wanted, more than anything else, to contribute in some way to the culture that I was living in. It just seemed like a challenge to move it a little bit towards the way I thought it might be interesting to go.
There are a good number of people creating black metal and black metal inspired music in the northwest. Much of this music is radically noncommercial and exists only on a very local, private level.
As for complicating the black metal aesthetic, I don't care about that since it was never a goal of mine to lay out any particular preconceived aesthetic, let alone one of traditional black metal where pseudonyms are adopted.
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