Well I mean first off- just because a person believes one thing is true doesn’t mean they also can’t believe the other thing. Then there’s just the media game. Do you think that most bands only play songs they like or want to play? Do actors only play characters who they think are cool people, do radio DJ’s and media personalities only back products they personally use and stand by 100%? Naw. Money man. Publicity. So even if you think Joker is an incel movie (I don’t think it is- but I think it would certainly appeal to incels- especially anyone who sees the protagonist in any sort of heroic light) you can still profit from the recognition and good will the film has.
As a fun fact: the band Quiet Riot did not want to record their now classic RIAA Gold billboard hit version of the song “Cum on Feel the Noize.” This song not only was a major factor in bringing the LA heavy metal scene to a wider mainstream audience, but had also influenced the sound of artists of the day and since- with its harsh and discordant vocals. The success of the song also was the major catalyst to finally bring British band Slade (who originally performed the song) to the USA. And- Quiet Riot wanted nothing to do with it and it is all somewhat an accident caused by their disgust with having to do it.
Slade recorded the song and it achieved popularity in the UK and elsewhere- but not the US. As part of Quiet Riots deal for their album the studio was insisting that they record a cover of the song. The one thing agreed on in present day is Riot didn’t want to do a cover of a song from the early 70’s. It was a 10 year old song. Other reports state there were other factors as well and they just didn’t like the song or feel it was “them.”
Either way- they had to record it as part of the deal. So they did. BUT- they reasoned they didn’t have to record it well- and that if they did a bad enough job, the studio wouldn’t put it on the album and would fill the space with one of the other tracks they recorded. So off the the booth went Quiet Riot and they decided instruments and vocals should be out of key or tune, that timing should be off, they needed a take that was too bad for a professional album but not so bad that it was obvious what they had done.
When it was all finished... the studio put it on the album anyway. It became a classic of American metal of the period and went on to not only be a world wide hit, but to overshadow the Slade version in markets where it had done well. The gritty and raw sound of the track seemed to fit the spirit of the genre and inspired the works of others. It certainly helped cement the song and the genre as “not music your parents would listen to” and the core image of high volume, low fidelity. You didn’t need fancy speakers or even speakers in their range to just play it loud and have the distortion be a part of the music.
So a fun fact- a neat bit of musical history, and apt to put subject as both an example of trying to “stick it to the man” and “be a rebel”
(While ultimately being an instrument of commercialization and commerce- much like the Joker) but also as an example of art that was a cover of existing art, and the artist didn’t have the attraction to cover the original- but did so because it was of commercial interest.
(While ultimately being an instrument of commercialization and commerce- much like the Joker) but also as an example of art that was a cover of existing art, and the artist didn’t have the attraction to cover the original- but did so because it was of commercial interest.