ALIVE OR JUST BREATHING: A REVIEW AND CONFRONTATION OF METAL'S MOST POPULAR STEREOTYPES

Item Type text; Electronic Thesis

Authors FRAZHO, BRANDON DOUGLAS

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.

Download date 24/09/2021 03:26:13

Link to Item http://hdl.handle.net/10150/190448

A thesis Submitted to the Honors College

In Partial Fulfillment of the Bachelor’s degree With Honors in

MUSIC

THE UNIVERSITY OF ARIZONA

May 2008

By Brandon Douglas Frazho

[ABSTRACT]

Since its creation over forty years ago heavy metal has been condemned and dismissed by people who are not knowledgeable about the music, and over time, these negative reactions have solidified into a series of widely held stereotypes. For example, metal is believed to be satanic, or to celebrate and inspire violence; the fans are seen to be angry or depressive. This study uses surveys of 62 heavy metal fans, and other relevant research, to undermine such stereotypes. The sound of heavy metal, the lyrics of metal songs, and the audience of heavy metal music are analyzed separately. Heavy metal fans ultimately are not dissuaded by misconceptions about the music, and continue to place high value on its community, purpose and musical creativity.

ALIVE OR JUST BREATHING: A REVIEW AND CONFRONTATION OF METAL’S MOST POPULAR STEREOTYPES

There are very few things in life that take complete priority over anything else. A birthday, a wedding, a high school graduation ceremony—these events are marked onto a calendar in red ink months in advance. Sometimes they’re so ingrained in your mind that you need not even write them down. When I discovered that American heavy metal band Lamb of God planned to tour Australia during my study abroad trip to Sydney, and that an in‐store signing would precede the concert, I knew that this would be one of those events. I waited in line for the signing for almost three hours, and of about a thousand people, I was the very last person that security let in before the band left for sound check. I chose to wait because I had never been to an in‐store signing before, and over the last year the group had quickly risen to become one of my favorites. More importantly, I chose to wait because I wanted a chance to exchange a handshake with each of the members. During my stay in Australia, I had made friends with a variety of people. The one thing that many had in common was a lack of understanding of why I was into and passionate about metal. “It’s just a bunch of loud noise and anger!” one might argue. “You’re a smart guy, why do you identify with such idiotic and untalented music?” another might ask. In all honesty, I don’t blame them. My perception of the genre was remarkably similar before I became a fan and began to feel like a part of the metal community. To an outsider, metal music fits and feeds its own stereotypes with ease—no one could reasonably argue that metal, from an objective perspective, does not seem loud and angry, or that the name Lamb of God is free of justified accusation. These stereotypes have been levied against heavy metal bands since the genre formed in the early 1960s. For example, in an LA Times newspaper clipping from 1971, writer John Mendelsohn offered his opinion on an upcoming Black Sabbath tour. Although the concert had been sold out for weeks, Mendelsohn refused to place any value on the band, or the audience. “Their music asks absolutely nothing of listener,” he claimed. “Everything is moronically simple, extremely loud and repeated, so mercilessly that one can be barbituated and/or drunk beyond recognition and still not miss a thing.”1 Years later, Tipper Gore summarized metal similarly in her 1987 book Raising PG Kids in an X‐Rated Society. Tipper Gore was the leader of anti‐rock group PMRC (Parents Music Resource Center) that challenged the significance or reason behind rock music, including heavy metal. Some of the distinct points from her book were that metal music encouraged the use of drugs and alcohol, glorified violence and supported suicide.2 There are countless accounts of the condescending view of metal music, and such a view has only become more solidified over the last forty years. Surprisingly, the external perception of metal does not seem to make any sort of a dent in the spirit of the metal community. Fans continue to confidently wear t‐shirts of their favorite metal bands, they never miss a concert, and they seem to have an undying respect for the genre as a whole. The stereotypes, although negative and powerful, are unsuccessful in dissuading fans from proudly displaying a consistent passion and love for what the metal community stands for. Rob Zombie (stage name of performer Robert Cunningham) for instance, has seen great success and has a very large fan base, despite the general scorn of the genre. “He routinely fills arenas, and has more certified gold and platinum records than anyone else on the Geffen label,” reminds Leonard Pierce of Metal Edge magazine. “He’s the only person in the history of the world to have recorded a platinum album and directed a #1 box office movie in the United States—not even Elvis can match that record.”3 There are most assuredly a vast number of metal fans in the United States, as well as around the world. And if heavy metal performers are reaching above‐Elvis standards, there must be a few good reasons as to why the genre is so sincerely and aggressively supported. This paper is not intended to convert a non‐metal fan into a metal fan, or persuade society to become more excited about the genre, but rather to illuminate metal’s significance and examine how modern fans approach entrenched stereotypes about the music. While metal has assuredly evolved over the last forty years, a substantial amount of the general stereotypes remain. Through the use of surveys and research, this paper will suggest that the long developed typecasts of the metal genre are not as accurate as the public perceives and

1 John Mendelsohn, “Black Sabbath Performs at Long Beach Arena,” LA Times (27 Sep. 1971): E11. 2 Tipper Gore, Raising PG Kids in an X-Rated Society (Nashville: Parthenon Press, 1987). 3 Leonard Pierce, “Rob Zombie: Letting It All Bleed Out,” Metal Edge (March 2008): 61. maintains them to be. The misinterpretations reference the occult, unintelligence, violence, talent and skill, and implication. For the purposes of this paper, the stereotypes will be organized into three different categories—Sound, Lyrics, and Audience—so that their substance can be explored on potentially multiple levels. The sound, lyrics, and audience of heavy metal music are also arguably the most distinctive characteristics that separate it from other styles of music. Surveys can prove to be a very useful tool when evaluating a subculture objectively. One of the reasons stereotypes about metal have gained such currency in society is that fans of metal music are less likely to be consulted by people who would dismiss it as unworthy. Recent scholarship about popular music has followed the pathbreaking example set by Robert Walser, who examined heavy metal, in part, by surveying the fans of the music in his book Running With The Devil.4 Susan Fast, another acclaimed critic of rock music, also applied surveys to her research on Led Zeppelin fans, in her book In the Houses of the Holy: Led Zeppelin and the Power of Rock Music.5 The inclusion of surveys demonstrates how the actual fan of a genre is being increasingly used as a valid means for understanding certain elements of a particular type of music. The survey used for this paper has been slightly based on Robert Walser’s survey structure (with his permission), but for the majority includes new questions, formats and structures. A total of 62 people (47 males, 11 females—and 4 that did not disclose their gender) took time to fill out a survey and the only requirement was that the person considers himself or herself a fan of metal music. Surveys were distributed to Myspace.com metal forums, students at the University of Arizona, and fans in the Tucson, Arizona location such as at record stores or guitar shops. A copy of the survey can be consulted in Appendix A, and select results can be consulted in Appendices B ‐ F.

4 Robert Walser, Running with the Devil: Power, Gender and Madness in Heavy Metal Music (New Hampshire: Wesleyan University Press, 1993). 5 Susan Fast, In the Houses of the Holy: Led Zeppelin and the Power of Rock Music (USA: Oxford University Press, 2001). The Sound of Metal

“Whenever you find yourself on the side of the majority, it is time to pause and reflect.” ‐Mark Twain

To the untrained listener, the sound of metal is perhaps the most unappealing thing that one could choose to listen to. The General Social Survey (GSS) is an annual analysis of social preferences administered by the National Opinion Research Center. The 1993 release incorporated the extent to which adults enjoyed 18 different musical genres, and Heavy Metal was either “disliked” or “disliked very much” by 1,166 of the total 1,606 participants.6 In other words, on average, 72% of adult Americans had a substantial aversion to the sound of heavy metal music. And being that this data was compiled fifteen years ago, those numbers could very well have risen. Metal includes overly distorted guitar tones, hammering drumbeats, heavy bass lines, and raw, harsh, growling vocals. Learning to appreciate the sound requires conditioning. One metal fan that took a survey for this paper explained, “As with any great piece of art, it takes many listens to fully appreciate every nuance of the music and lyrics.” Another fan cautioned that, “You have to develop an ear for complex melodies and song structures which can take a little while.” The reason why someone would be interested in learning to appreciate the music will vary, but metal fans see the result of the investment similarly: as a reward. Survey takers were asked to rate on a scale of 1 (strongly disagree) to 10 (strongly agree) the extent to which they identified with the statement, “Metal is much tougher to appreciate than other music, but has a more rewarding value once into it.” The average rating was calculated to be 6.59, which is a pinch above a midrange score of 5. (Please see Appendix F for the results of all 19 rankings). Respondents were thus more likely to “agree” than “disagree”, which suggests that fans might find metal less appealing at first, since the reward comes after having gotten used to the harsh sound.

6 Bethany Bryson, “Anything But Heavy Metal: Symbolic Exclusion and Musical Dislikes,” American Sociological Review, 61 (October 1996): 893. Another typical stereotype of metal musicians is that they are not very skilled at playing their instruments. One of the most underrated elements of metal music is the talent required to produce it. In fact, when asked to list common stereotypes associated with the genre, 29 of the 62 respondents produced a written answer relating to misconception that metal is “not talented”, “just loud noises”, or that “it all sounds the same”. Additionally, the average ranking for the statement, “It takes a great musician to compose heavy metal,” was 6.89. There have also been numerous accounts of scholarship studying the musicianship of heavy metal. Jonathan Pieslak, a music theorist, published a twenty‐six‐page analysis of Swedish metal band Meshuggah’s musical style, whose sound is labeled in the report as “progressive/math metal”. By investigating various musical elements of the band’s instrumentation, he concluded that their work was original and stylish. “While maintaining the loud, distorted guitar timbre associated with metal music in general, progressive/math metal emphasizes a sophisticated musical structure, particularly with regard to rhythm and meter, and requires skilled technical performances by the entire ensemble,” he affirms. “The techniques of metric superimposition discussed in the analysis are particular to Meshuggah’s music, and the analytic tools used to explain those techniques are largely specific to Meshuggah.”7 It’s not every day that a band incorporates fundamentally original ideas into their sound, and uses techniques that virtually no other band, including other metal bands, has employed. Although, of course, not all metal music follows this pattern, much is highly complex and calls for close analysis. Sepultura, a South American band based out of Brazil, is another metal band that has incorporated innovative ideas into their work. After exploring Sepultura, writer Kieth Harris published an article that unveiled a very creative addition to their musical approach. He discovered that members of Sepultura had gotten training in samba music, and had also become familiar with authentic Brazilian music while growing up.8 On the album entitled Roots, the band actually mixed chants of the Xavante Tribe (native to Brazil) into their music, giving fans a taste of authentic Brazilian heritage. “The collaboration was not intended simply to add exotic ‘colour’ to their music, but was a sincere (if perhaps naïve) attempt to collaborate and

7 Jonathan Pieslak, “Re-casting Metal: Rhythm and meter in the music of Meshuggah,” The Journal of the Society for Music Theory, 29 (Fall 2007): 244. 8 Kieth Harris, “‘Roots’?: the relationship between the global and the local within the Extreme Metal scene,” Popular Music, 19 (2000): 22. learn from Sepultura’s fellow Brazilians,” concludes Harris. He added that, “The Xavante also released a statement warmly commending the collaboration.”9 Sepultura, however, is not the only metal band to draw on unorthodox music for use in heavy metal songs. Harris explains that some Scandinavian groups have consulted historic musical styles stemming from the Pagan and Viking eras, and that others, “incorporated ‘folk’ instruments and styles into their music and drew on Western classical music in order to construct a more ‘authentic’ sound.”10 Although much metal, both from the modern day and the past, seems loud, untalented, and all the same, it is crucial to recognize that beneath the surface, there is much more. In fact, metal music is arguably one of the most remarkable and imaginative types of music on the market. One fan defined it as, “probably the most talented music out there,” while another classified it as “intense—not by appearance—but by creativity and originality.” Nevertheless, while several studies have illustrated the impact of “classical” music on heavy metal11 the public generally fails to credit the genre as musically worthwhile. Robert Walser, as mentioned earlier, confirms that metal composers value virtuosity by reporting that, “metal musicians take private lessons, study music theory, and practice scales and exercises for hours every day.”12 His testimony is based upon actual visits to rehearsal halls and practice warehouses where musicians gather and arrange their work. “In some rooms, lone guitarists practice scales, arpeggios, heavy metal riffs, and Bach transcriptions,” he recounts. “Behind these doors musicians compose and rehearse through all hours of the day and night.”13 Metal bands are very serious about the music they make, and are very concerned with ensuring a sense of quality within their creations. “There is a parallel sense of isolation for the sake of musical craft and creativity,” Walser continues, “a kindred pursuit of technical development and group precision.”14 The members of metal bands write music that is polished, and are likely aware that the talent is oftentimes muffed by the overall growl that metal exudes.

9 Ibid, 22-23. 10 Ibid, 20. 11 Ken McLeod, “Bohemian rhapsodies: operatic influences on rock music,” Popular Music, 20 (2001): 189. 12 Robert Walser, Running with the Devil: Power, Gender and Madness in Heavy Metal Music (New Hampshire: Wesleyan University Press, 1993): ix. 13-14 Ibid, ix.

Becoming familiar with the skill and professionalism that metal players demonstrate is imperative to understanding that metal compositions are much more than simple melodies and guitar chords—and that a certain amount of “classical music” does actually live within the music. Rewinding back to the narrative at the beginning of the paper, during my Australian adventure I encountered a shirt in a shopping mall that summed up the classical influence in metal in a very unique way. The names of classical composers such as Bach, Vivaldi, and Beethoven were sewn into the shirt, but they were done so using the fonts from famous heavy metal band logos, such as Metallica and Iron Maiden. The shirt was on a clearance rack, presumably because shoppers did not understand the significance between two seemingly unconnected worlds. Walser continues to expand on the skill that metal cultivates in another one of his publications: “Throughout heavy metal’s history, its most influential musicians have been guitar players who have also studied some aspects of that assemblage of disparate musical styles known in the twentieth century as ‘classical music’…[Randy] Rhoads became famous as the first guitar player of the 1980s to expand on the classical influence, further adapting and integrating a harmonic and melodic vocabulary derived from classical music.”15 Randy Rhoads was the guitarist for the metal band Quiet Riot, as well as the guitarist for a portion of Ozzy Osbourne’s solo career. Of course, not all metal guitarists incorporate excessively technical and complicated music theory, such as players like Randy Rhoads, but a considerable amount do, in some capacity, including both bands from the past as well as those of today. Walser further reports that, “Classically influenced players such as [Eddie] Van Halen and [Randy] Rhoads helped precipitate a shift among guitar players towards a new model of professional excellence, with theory, analysis, pedagogy and technical rigor acquiring new importance.”16 When asked why metal was still a part of his life, one fan simply concluded it was because, “Metal is the closest thing to classical music that is still widely distributed.” The band Wintersun, rooted in Finland, provides another example of the sophistication and work ethic that metal can exude. Jari Mäenpää, guitarist and vocalist for the band, has been keeping an online journal of the progress of the next album, Time. He recently updated fans

15 Robert Walser, “Heavy Metal and The Highbrow/Lowbrow Divide,” In The Rock History Reader, Ed. Theo Cateforis (New York: Routledge Press, 2007); 236-237. 16 Ibid, 238. with: “The album is very huge, I don’t know if it’s gonna fit even in the 74 minutes of a CD. The track count is very high, about 200 tracks per song. So it’s almost like two albums in one (or three Slayer albums :P). But I’m gonna finish this, no matter what.”17 Although his English grammar is limited, his dedication to the album is quite the opposite. The songs will each consist of about 200 tracks (or layers), which is unbelievably high. Most songs have a drum layer, a guitar layer, a bass layer, and a vocal layer, and occasionally a few others such as a keyboard or second guitar. The fact that there are so many other intricacies demonstrates Wintersun’s desire to create a complex and dense recording. Heavy metal is stereotypically simple, but even a cursory examination suggests the music itself is often composite. “I will always enjoy metal because of its technicality,” wrote one surveyed metal fan. “I expect bands to evolve and change their sound…Time to get accustomed to their new style is not an inconvenience but a sign of an evolving musician.” Many people assume the loud noises and intensity of metal are just “all the same.” But metal fans are able to notice vast differences between songs and albums—they have learned to search deeper for hidden and innovative ideas. The vocal tone that characterizes metal music is perhaps the biggest reason why the general public finds it distasteful. Many heavy metal vocalists sound like they are screaming as they sing. When someone screams at you during an argument, the harshness and intensity of their tone is usually off‐putting and unpleasant. So why do metal fans enjoy this type of vocal approach? Appreciating the style is an acquired taste. Fans know that the vocalist is not upset with them, such as with an argument between two people, but that this style represents a powerful means of delivering lyrics and intensely expressing a message, thus justifying an aggressive tone and volume. The growling and screaming of metal is appropriate because the band, and foremost the vocalist, is displaying an emotional commitment to the music. The issues are so vivid and important that there seems to be no other option in terms of how to present them. This approach is of course extremely unconventional and controversial, but to its credit, there are thousands and thousands of fans across the world that would not have it any other way.

17 Jari Mäenpää, “Wintersun Official Homesite,” (April 2007) http://witnermadness.net/. Believe it or not, the ability to effectively scream and growl is not something than anyone can do. One survey respondent said, “I rarely sing along, mainly due to the guttural chaos of the vocals and my inability to replicate them.” Although duplication may seem easy, the tone is often unique to the screamer, and the sound comprises a biting, yet polished energy. When asked the degree to which they believe that, “The screaming and yelling elements of metal can be done by just about anyone,” the response was calculated to be 2.77, displaying strong disagreement. The low rating may propose that other fans have as well attempted to sing along and then in turn found it rather challenging. Looking to metal fans that have a very sharp and trained ear for all of the different noises is arguably the best measure to judge the difficulty of producing harsh vocals. Fans have experience with different metal bands, they have become familiar with the style of their favorite vocalists, and they have likely compared their version to the real deal, as seen with one fan’s response of, “My sister laughs when I copy the screaming parts.” Many people would be surprised to know that there are actually techniques and methods that one can learn to improve, strengthen and conserve their vocal energy. Many vocalists have consulted with Melissa Cross, a coach whose clients consist mostly of metal singers. She has released a lesson‐based DVD as well, entitled The Zen of Screaming so that the general public can learn how to improve their abilities should they be interested in doing so. The two hour and twenty‐five minute video covers a variety of topics, ranging from how to breath properly while performing live to finding one’s own personal singing range and pitch, to even how to the control and manage muscles in your throat. Aggressive screaming can be detrimental to one’s vocal chords, so being aware of how to scream effectively and responsibly is very important for heavy metal singers. For example, Cross explains a technique to create a “reserve tank” of air: I’m going to teach you something called rib‐reserve breathing. At the bottom of your ribcage there are two ribs—they’re called floating ribs and they’re not connected to the sternum, they’re actually connected to the spine. And by expanding my ribs out to the side at the same time I take an incoming breath, I create a reserve tank of air that I’m not going to use. I’m going to refill it before I use it.18

18 Melissa Cross, The Zen of Screaming, DVD, Directed by Denise Korycki (2007: Warner Bros Publications): “Rotunda” . Having that “reserve tank” of air is very important for live performances—it is very easy to become worn out too fast and not be able to offer a well‐distributed amount of energy from beginning to end. Brian Fair, vocalist for the Massachusetts‐based band Shadows Fall explains on the DVD, “When you’re tired, man that last song is tough! So you’ve got to have that little reserve tank.”19 Many metal singers have actually blown out their voice, and suffered the consequences of not learning how to properly “scream”. These singers either lost their career or only sing in softer, more normal styles. A recent interview in Revolver magazine illustrates Randy Blythe’s (of Lamb of God) understanding of the importance of approaching metal vocalism the proper way: “When you’re screaming, there is a technique to holding notes the right way. Yes, you’re loud. Yes, you’re screaming, but you’re not completely destroying your voice.”20 Many things in this world are misunderstood and underestimated, and sometimes rightfully so. A helpful way to become appreciative of the trademark growling in metal is to become acquainted with it over time, and to understand what goes into the process. The sound of metal music is without a doubt loud, intense, aggressive and initially very unappealing. However, fans value its honest emotional expression and that fact that it is not tailored to sound catchy and pop‐like. “Nowadays, rock anthems are used to sell banks and cars,” illustrates Simon Frith, a popular music scholar. “As I write, Rolling Stone magazine is celebrating its twentieth anniversary as though it had always meant to be what it has now become—a slick vehicle for delivering the middle‐class, middle‐aged leisure market to the USA’s most conservative corporate advertisers.”21 Metal is not generally picked as the music to accompany advertising or marketing campaigns—in fact, it is not generally chosen to be used for anything; unlike popular rock songs, the sound of most metal is too severe for a casual listener. Metal’s limited viability is based almost entirely off its sound—a raw and personalized display of passion—and again, this sound takes a substantial amount of patience to become accustomed to. When asked to elaborate on the limited practicality of metal, one fan explained:

19 Brian Fair, Ibid, “Rotunda” . 20 John Wiederhorn, “Rebel Meets Rebel,” Revolver Magazine (November 2007): 78. 21 Simon Frith, Music For Pleasure: Essays in the Sociology of Pop (Cambridge: Polity Press, 1988): 1. Radio play relies on people immediately liking the song that they hear as they flip through the channels, and many music publishers encourage or even force artists to change the sound of their music in order to make it more palatable to an indifferent listener on the radio. Metal fans appreciate the fact that their favorite bands do not change their sound or message to sell more records or get more radio time, and ideally this allows metal artists to put forward their unrestrained creative potential into writing and playing their songs.

It is usually very rare to hear a metal song on the radio, bar a few famous Metallica classics, because the songs are not easily enjoyed. As the fan said, radio songs need to be instantly friendly and exciting. Initially, even for the most experienced metal aficionados, metal’s sound is neither welcoming nor pleasing. Many survey takers admitted that getting used to unfamiliar metal bands or albums will take time, and that it does not just happen right away. New album releases, although anticipated and hopefully approvable, most always require some degree of conditioning. One fan explained that, “It will take several months to truly appreciate and realize a lot of it.” Another fan recalled that a new album, “takes about five or six times of listening to it” to fully be grateful for it. The calculated score from the surveys for the statement, “It takes commitment and close listening to truly begin to appreciate a metal band/song/album” was averaged out to be 7.29—fans definitely “agree” that metal takes time. But as with many things in life, investing a lot of energy into something can yield a great deal of satisfaction. In an interview for Terrorizer magazine between reporter Leander Gloversmith and Adam Dutkiewicz of Killswitch Engage, we catch a glimpse of metal’s unaccommodating sound. “We don’t think about pleasing anybody but us, really. We aren’t trying to be anything but ourselves,” Dutkiewicz explains. “We have fun and do what we feel is best, and ultimately I would like kids to remember that we did everything on our own terms; never bowing to label interventions or slick marketing.”22 Mark Morton, a guitarist for Lamb of God feels similarly, expressing during a mid‐2006 interview that, “Over the course of our career we’ve never made music for anyone but ourselves…If you love it great, if you don’t that’s cool too. We’re making

22 Leander Gloversmith, “Current Affairs,” Terrorizer magazine (May 2004): 21. music for us, that’s all we’ve ever done.”23 When asked to rank the importance of various metal elements, 48 of the 62 fans chose the ranking of “Extremely” for the element of Passion; 33 chose “Extremely” as well for the element of Originality, suggesting the notion metal often calls for original and energized ideas (please see Appendix C). “To write and play it”, one fan attested, “you need to be doing it for yourself, and have a passion for the music because there’s a message or an experience you want to let out…A drive to be famous, rich, desirable to the opposite sex because of the status you’ll assume fronting a band, among other similar reasons, will never give you the passion needed to write metal.” This passion shines through in the sound of metal, decreasing its initial appeal, but in the eyes of fans, increasing its integrity. “True metal bands wouldn’t care if zero people showed up to their show or if no one moshed in the crowd. As long as the music has true meaning to them, nothing else matters,” wrote another. To summarize, the sound of heavy metal is raunchy, fast and uncensored. Metal is “the most misunderstood genre of music there is,” as one fan argued, and most assuredly asks a lot of the listener. The vocal style is intense, but also reflects training, technique and emotion. The instrumentation can incorporate “classically” influenced styles, but also others such as Viking or Folk—or even, as seen with the band Meshuggah—almost completely original and exclusive approaches to playing. Metal’s capacity for virtuosity is a fact that is both hard to swallow and challenging to hear, as the talent is oftentimes hidden beneath the overall roar that radiates throughout the instrumentation. Musicianship rests submerged within metal’s sound, and will require time and patience before coming into light. Perseverance beyond first impressions often leads to approval, and continued exploration will likely create respect and intimacy. “All metal albums take time to fully appreciate, or fully dislike,” wrote a seasoned fan of six and a half years. Enthusiasts will occasionally disapprove of certain bands or new album releases, but they know that an adequate time investment is necessary to conclude value. “The sound of metal refuses to conform for the sake of comfort or rebel for the sake of rebellion,” wrote another fan. “Metal is a reaction to society and to the self that refuses to quietly accept

23 Horatio, “An interview with Mark Morton from Lamb of God,” (July 2006): www.kickedintheface.com/interviews/Lamb_Of_God_1.htm . constructed limits.” All in all, the sound of metal is untailored and aggressively passionate, rarely enticing the dismissive listener, and strongly fulfilling the searching fan.

The Lyrics of Metal

“Rather than love, than money, than fame, give me truth.” ‐Henry Thoreau

The lyrical content of metal is perhaps the most stereotyped element of the genre, often deemed as satanic, strongly connected to ideas of suicide and violence, or just simply objectionable and unacceptable. One fan was quick to point out, “It continuously feels like we are being ridiculed and portrayed as the ‘bad guys’ by media and mainstream figures, while at the same time they riddle the news and Internet with sex, scandal, and various other crimes.” The once famous story of the “West Memphis Three” illustrates just how quickly our society can tend to judge the music. In early 1993, three young children were found brutally assassinated and left in the woods of West Memphis, Arkansas with no trace of a suspect. Police soon after placed the blame on three individuals, in part because they were perceived as fans of metal music. As the “Free The West Memphis Three” homage website explains, “Although there was no physical evidence, murder weapon, motive, or connection to the victims, the prosecution pathetically resorted to presenting black hair and clothing, heavy metal t‐shirts, and Stephen King novels as proof that the boys were sacrificed in a satanic cult ritual.”24 The three convicted individuals were eventually sentenced to prison, and have been incarcerated since. “Sure there are many metal bands that claim to be satanic but just because such bands exist doesn’t mean that all metal bands worship the great horned one,” explained one survey taker. Lyrical content often makes mention of words or ideas referencing edgy topics such as satan or hell, but inclusion does not therefore also denote support or promotion of these ideas. Since some metal is focused on pointing out tender and difficult ideas, and

24 Bob Buechler, “Free The West Memphis Three,” (Case Info) WM3.org. encouraging listeners to become aware of these ideas, the lyrical content can include darker subjects. Because of these unorthodox concentrations and word choices, there is a much larger gap for misinterpretation—a word such as “kill” will likely be taken at face value. Fans, however, endeavor to not let generally misunderstood lyrical references affect their enjoyment of the music: “The appreciation is a personal relationship that is independent of collective perception,” explained another fan. In Chuck Klosterman’s book Fargo Rock City, he uses his favorite metal band Mötley Crüe to illustrate how metal’s lyrics are often misconstrued. His example addresses Mötley Crüe’s album Shout at the Devil, and explains how even the title of the album is misinterpreted. “Humorless Jesus freaks always accused Mötley Crüe of satanism, and mostly because of this record. But—if taken literally (a practice that only seems to happen to rock music when it shouldn’t)—the lyrics actually suggest an anti‐Satan sentiment, which means Mötley Crüe released the most popular Christian rock record of the 1980s,” he jokes. His tone is sarcastic, but his message is valid. “They’re not shouting with the devil or for the devil,” he continues, “They’re shouting at the devil.”25 Again, the word “devil” sets up the album to be criticized as satanic or anti‐Christian, when in reality it is not. Although the purpose of Mötley Crüe’s shouting is unclear, as Klosterman points out, the group is not expressing a pro‐devil sentiment or supporting the notion of satanism. I personally speculate that the title is simply an effective approach to expressing individualism, while also stirring up a commotion with a harmless and almost joke‐like implication. Association with the devil is arguably one of the strongest labels that has become linked to heavy metal music. Of the 62 fans that took a survey, 34 listed “satan”, “black clothing” or “death” as a negative stereotype that has been ingrained in the metal community. In other words, over half of the respondents claimed (by their own volition, mind you, because the question was open‐ended) that they do not find satan, black clothing or death to be a valid means to describe heavy metal music. And these are the actual consumers of the music, not outside perspectives or opinions. One fan was sure to point out that, “Many nice people out there that wear that dark‐black‐t‐shirt‐heavy‐metal‐look are some of the nicest people and are

25 Chuck Klosterman, Fargo Rock City (New York, Scribner: 2001: 24. actually the complete opposite of that stereotype.” The formation of this typecast has possibly occurred because of the nonconformist nature of metal music—but of course, someone that chooses not to follow the norms set by society is not then also a satanist or someone who identifies with evil. The idea here is more of realizing and being aware of the evil in the world, rather than approving of or creating it. “The attitude [of metal] tends to encompass a disregard for social conventions, a strong resistance to social pressures (i.e. religion), and a freedom to do what one likes to do,” wrote another fan. “It also accepts the seemingly ‘evil’ nature of humanity as a state of our being, and does not try to hide negative emotions.” The world that we live in is by far not a perfect one, and metal is there to remind us, but also to let us be accepting of, this fact. Metal’s subject matter is oftentimes simply unorthodox and edgy, which of course creates a larger gap for misinterpretation. Another fan summed it up well when he explained, “While most bands aren’t singing about rainbows and unicorns, I don’t view most of the themes in the music as ‘negative’. Oftentimes, the topics are simply atypical and are therefore frowned upon.” The song “Run to the Hills” by Iron Maiden provides an example of a song that can be taken the wrong way: White man came across the sea/ He brought us pain and misery He killed our tribes, he killed our creed/ He took our game for his own need …Riding through dust clouds and barren wastes/Galloping hard on the plains Chasing the redskins back to their holes/Fighting them at their own game Murder for freedom a stab in the back/Women and children and cowards attack …Raping the women and wasting the men/Enslaving the young and destroying the old Run to the hills, Run for your lives 26

The casual listener might hear the words “killed”, “raping”, “enslaving” or “stab” and find the song to be distasteful. But with a little bit of research, they would discover that the song is actually recounting the British invasion on North America, written in the perspective of the Indians. Iron Maiden finds the assault tragic and unfortunate and tributes the Indians in a very artistic way. The content of metal can indeed be very graphic and illicit, and oftentimes pushes the envelope of what is appropriate and what is not. But what is more important for an

26 Iron Maiden, 1982. The Number of the Beast (Raw Power: B00000BKDU). “outsider” to realize about metal, though, is that the lyrics should be fully understood and researched before decisions or judgments are made. In 1993, a study for the American Sociological Review journal examined the lyrical content of heavy metal and gangster rap music. Ten songs from each genre were selected at random, and the author of the article, Amy Binder, reported that, “two of the ten heavy metal songs and nine of the ten rap songs included hard swear words…and no heavy metal songs and two rap songs portrayed violence against the police.”27 The study, although perhaps flawed in the way it generalizes about two radically different music genres, concludes that not all heavy metal lyrics incorporate swear words or violence. The study also reported that only one of the ten metal songs chosen had content that related to suicide. Certain metal songs may very well address suicide in a supportive manner, but that does not also mean that all metal includes such ideas—as seen with Binder’s examination, a substantial amount (90%) did not. Harris Berger, a music professor, once explored the meaning of the lyrics for a death metal band in Akron, Ohio known as Sin‐Eater. Akron is a small rural American town that was at one time famous for tire manufacturing, but is now struggling to offer its inhabitants stable working conditions and a satisfactory standard of living. Berger sympathized with Saladin, the lead singer of Sin‐Eater: “Confronted with limited job opportunities, a collapsing industrial base and ever‐shrinking representation in the workplace and the government, the metalhead’s life is one of profound frustration.”28 There are a variety of different reasons that could justify a person’s irritation with certain parts of life—having an inadequate standard of living is most certainly one of them. Of course, frustration is not the answer to overcoming struggle, but it may serve as an outlet for negative energy in the form of music, and provide a vitalizing option to deal with some of the brutal truths of this world. “The energy of a death metal performance,” Berger continues, “and the attendant subcultural community‐building that these musicians so enthusiastically participated in, is pursued as a pro‐active response to the apathy, a way of overcoming hopelessness.”29 The lyrical messages of this small Ohio metal community are not

27 Amy Binder, “Constructing Racial Rhetoric: Media Depictions of Harm in Heavy Metal and Rap Music,” American Sociological Review, 58 (1993): 764. 28 Harris Berger, “Death Metal Tonality and the Act of Listening,” Popular Music, 18 (May 1999): 171- 172. 29 Ibid, 172-173. formulated on anger and hatred, but rather on how to deal with the injustices that life throws, and to ultimately accept them. “The musicians I spoke with were quick to disabuse me of the misconception that metal is merely angry music,” Berger affirms. “Discussing his songs, Saladin pointed out how the music constantly shifts among passages of frantic energy, dirge‐like depression, medium tempo anger, expansive grandeur” and are used to “help listeners to explore their emotional life actively, to examine the feelings that hold them back and to overcome these.”30 The majority of society would likely be shocked to discover that a band characterized as “death metal” and named Sin‐Eater provided any sort of positive or meaningful outlook. Again, taking a closer look at lyrical intent, as well as circumstance, can reveal a lot more about a metal band than one would initially imagine. As one surveyed fan explained, “Metal is a mixture of love, life and aggression that sends a message of hope.” Robert Walser mentions a certain metal band from Hungary called Pokolgep. A friend had encouraged him to sample their work, and helped to translate the lyrics for him. The message was murky and depressing, but also hinted towards an idea of acceptance, of facing a harsh reality. Walser recounts that the message spoke, “eloquently of a state of alienation where there is no future, no past, no freedom, no security, and also no hope, no fantastic transcendence, no dreams of anything better.”31 Metal is oftentimes accused of focusing on ideas of “escapism”—in fact Webster’s dictionary defines metal as having “usually an element of the fantastic”32—but we see with this particular band that this is not the case at all. Pokolgep had “no fantastic transcendence, no dreams of anything better.” After surveying American metal fans, Walser found that many disagreed with metal as being described as fantastical. “The most common grounds for dismissal of heavy metal—that it embodies nothing more than adolescent rebellion and escapism—were the qualities least often chosen by fans as representative of their feelings,”33 Walser explains. Many metal bands, whether from the past or the modern day, discuss serious and pressing issues, but more times than not they are not intended to provide escape. In Iraq, there is only one heavy metal band, called Acrassicauda,

30 Ibid, 173. 31 Walser, “Running with the Devil,” 34. 32 Frederick Mish, Ed., Webster’s Ninth New Collegiate Dictionary (Massachusetts: Merriam-Webster Incorporated, 1989) 560. 33 Walser, “Running with the Devil,” 19. and a documentary entitled “Heavy Metal in Baghdad” was recently released that tracked the group from the fall of Saddam Hussein in 2003 to the present time. The film illustrates the detrimental effect that the long‐established war has had on their lives, and portrays their constant struggle for freedom.34 The band’s lyrics are often reflective of this injustice, and serves as an outlet for hope. Acrassicauda was accused of satan‐worship, and eventually had to immigrate to Syria, where they have literally become a “band on the run”35. There is a high risk of being sent back to Iraq for execution, but they continue to write music. Over the seven‐year life of the band, they’ve only been permitted to play six live shows. The second U.S. war in Iraq is a subject that has been addressed with increasing frequency in the lyrics of heavy metal music. Lamb of God’s song, “Now You’ve Got Something To Die For”—which of course to an unfamiliar listener feels heartless, appalling and entirely repugnant—is actually an expression of passionate concern. The entire song, which is the third track of their album Ashes of the Wake, is presented below: Now you've got something to die for / Now you've got something to die for Infidel, imperial / Lust for blood, a blind crusade / Apocalyptic, we count the days Bombs to set the people free / blood to feed the dollar tree Flags for coffins on the screen, oil for the machine Army of liberation, gunpoint indoctrination / The fires of sedition fulfill the prophecy

Now you've got something to die for / Now you've got something to die for

Send the children to the fire, sons and daughters stack the pyre Stoke the flame of the empire, live to lie another day Face of hypocrisy, raping democracy / Apocalyptic, we count the days

We'll never get out of this hole / Until we've dug our own grave And drug the rest down with us / The burning home of the brave

Burn.

Now you've got something to die for / Now you've got something to die for.36

34 Kathryn Frazier, “Heavy Metal In Baghdad,” (2007): heavymetalinbaghdad.com. 35 Ibid, heavymetalinbaghdad.com. 36 Lamb of God, 2004. Ashes of the Wake (Sony: B0002S94OS). The message is brutal, explicit and directly to the point—that is, of course, if the listener is able to make out parts of the diction. Assuming he or she is indeed able to, the intention of the words will likely be misunderstood. Picking up on phrases such as “Lust for blood” or “Send the children to the fire” is likely to trigger a negative response. These phrases, by themselves, are certainly repulsive. But if taken as part of the whole, they are vividly passionate in detailing the horrors, at least in Lamb of God’s perception, of this war. Observers are free to criticize the intensity by which the band chooses to depict the war, but they should not dismiss the integrity, no matter how explicit or forceful it may be, that the song conveys. “I think the political and economic climate lends itself to something a little bit heavier,” explains Randy Blythe, the band’s vocalist. “In bad times, you don’t want to listen to happy, singalong, boy‐ meets‐girl music.”37 A central theme to heavy metal music is the idea of focusing on darker subjects. Metal reflects the rougher sides of life, the sides that not everyone would prefer to discuss, but the sides that are most assuredly present. But, as seen with the band Sin‐Eater, there is also an optimistic element as well. When presented with the statement, “Metal is just ‘pissed‐off’ music with no real value or positive message,” the response from fans was overly disagreeable—averaged to be 1.53. When presented with the statement, “I become negative and unhappy when I listen to my favorite metal bands,” the response was similarly low, averaging 1.85. It is clear that fans find metal music to be a much more positive asset to their lives, rather than a pessimistic one. To further elaborate on metal’s tendencies for positive messages, a review of a New York Times editorial by Robert Palmer, former chief rock critic, will prove useful. The article, in part, analyzed the lyrical message of American “dark metal” bands, such as Anthrax, Slayer, Danzig and Megadeth. Palmer writes that, “The world these bands sing about is not some never‐never land of ghouls and goblins; it is immediately recognizable as the world we live in, with its gang violence, crack epidemic, threats of war and images of pain, injustice and repression.”38 He ultimately concludes, “These are bands with a social conscience.” Metal lyrics are taken as violent, intense, evil and hostile because they reflect

37 Tim Henderson, “Lamb of God featured in LA Times,” BW & BK Magazine (December 2007): http://www.bravewords.com/news/79477 (originally cited at latimes.com). 38 Robert Palmer, “Dark Metal: Not Just Smash and Thrash,” New York Times (November 1990): H31. certain components of the human experience, which are those adjectives just named. Again, the intention of the lyricism with most bands is not to support the negativity in this world, but to offer a message of awareness. Of the four bands mentioned in the New York Times article, Slayer is debatably the most lyrically intense, and when fans were asked to qualify the bands that they would consider “metal”, Slayer was chosen 60 of the 62 times, making it the most circled band from the list. (Please see Appendix E). Slayer includes references and ideas that most outside listeners would find appalling. Take, for instance, an excerpt from “Dead Skin Mask”, the fifth track off the Seasons In The Abyss album: Graze the skin with my finger tips / The brush of dead cold flesh pacifies the means Provoking images delicate features so smooth / A pleasant fragrance in the light of the moon Simple smiles elude psychotic eyes / Lose all mind control rationale declines Empty eyes enslave the creations / Of placid faces and lifeless pageants 39

The mood of the content is well described as somber and dark, and the accompanying instrumentation in the actual song only enhances that sensation. But remember, the lyrics are a mirroring of the world around us—these specific lyrics could perhaps refer to the aftermath of a war, or possibly a gang shootout, both of for which our society is to blame. Tom Araya, Slayer’s singer (or screamer, rather) and bassist says in the article, “I don’t think we glorify anything. I graphically describe a lot of things—this really happens, this does go on.” He continues, “I’m not telling people to do it; I’m just telling you what I see, what I hear, and what I know.”40 In a January 2008 interview, Araya gave fans an unexpected insight into his life—one that may shock even the most hardcore metal fan. He explained how, despite justified assumptions of his anti‐Catholic outlook, he grew up with religion in his life, specifically that of Catholic faith. “It really makes me a better person. And I try to instill that in my kids believe it or not. To believe and to have faith – blind faith.”41 Who would have thought that the lead singer

39 Slayer, 1990. Seasons in the Abyss (Song Legacy: B000RZGFZC). 40 Palmer, “Dark Metal,” H31. 41 Tim Henderson, “SLAYER’s Tom Araya On New Material, Vinyl Box-Set, Being Spiritual,” BW & BK Magazine (January 2008): http://www.bravewords.com/news/80747. of possibly the most controversial American metal band, the majority of whose album covers incorporate extreme gore or violence, actually supports the Catholic faith? The musicologist Charles Hamm once suggested that one of the original purposes for rock music was to unveil gloomy realities. He recalls that, “This may not have been the first thing that rock said, but it did say, often, that the world is full of lonely, unhappy people, that lives can be or become tragic, that all people do not have an equal opportunity for happiness.”42 This description can be extended to heavy metal music, because it is a ramification of the general “rock” category. Most perceive rock as an upbeat and party‐inducing type of music, but this perception is at times inaccurate, just like many perceptions of metal’s intentions are inaccurate. By exploring various rock n’ roll groups, one will find a variety of sullen emotions. Elvis Presley’s “Heartbreak Hotel” provides a prime example, as seen in the extract below: Well, since my baby left me, I found a new place to dwell It’s down at the end of a lonely street at Heartbreak Hotel You make me so lonely baby, I get so lonely, I get so lonely I could die. And although it’s always crowded, you can still find some room Where broken hearted lovers do cry away their gloom Well, the Bell hop’s tears keep flowin’, and the desk clerk’s dressed in black. Well they been so long on lonely street, They ain’t never gonna look back 43

We’ve all heard the song, but our understanding of the lyrical intent is likely diminished by the fun nature of the instrumentation. Underneath the upbeat spirit and catchy guitar work is a message of sorrow—a sense of solidarity that seems unbearable. Yet millions and millions of people cherished the song, played it for their kids, and welcomed Elvis in their local musical venues. Rock music, and more specifically heavy metal, displays similar concepts, and often expresses some sort of negative connotation. Take a glimpse at the song “Omen”, a song by the Finnish band Norther: Remember you used to stand by my side / But since you've been gone I've been lost inside I feel I've lost the light of my life / It feels so empty and cold inside …In my dreams I can see you, and tell you how I feel / In my dreams I can feel you, and it feels so real

42 Charles Hamm, “Rock and the Facts of Life,” Harvard Library Bulletin, 2/1(1991): 50. 43 Elvis Presley, 1956. Heartbreak Hotel (BMG: B000CQO11G). In my dreams I can see you, and tell you how I feel / In my dreams I can hold you, and I wake so alone If this time is the last time, could I hold you for the last time? Since this is…the last time, Lay your head down for the last night 44

The lyrics are accompanied by crushing guitar riffs, epic keyboard melodies, and a vocal tone that expresses sheer passion. Yet, the only real difference between “Heartbreak Hotel” and “Omen” is the instrumental setting in which it is presented. The lyrics focus on similar ideas— loneliness and despair—but of course the general public would rather listen to Elvis’ account of mourning rather Norther’s. When asked to describe metal, one enthusiast replied: “Metal is loud, driving, guitar based rock n roll that embraces negative feelings through uplifting beats a tempo”. The description is spot‐on, and illustrates how metal provides a healthy method to channel negative emotion. The content of metal lyrics, although often centered on a notion of confronting tougher subjects, can also expand into other topics and focuses. Blind Guardian, based out of Germany, explores the reign of King Arthur in medieval Britain throughout the album Imaginations From The Other Side.45 Fireaxe, an American band, incorporates the work of poet H. P. Lovecraft into the songs from the album Lovecraftian Nightmares.46 Many metal fans believe that the genre can be a source of learning as well—the statement, “I have learned valuable things from the metal bands I listen to,” returned an average of 7.08. One fan commented, “Many of the bands in metal history have not only talked about literature [such as H.P. Lovecraft] but have also used historical topics. Iced Earth uses a lot of history ranging from American to British to Middle Eastern. Nile also uses many Egyptian history, folklores and tales in their CDs along with musical instruments from Egypt.” The reason that metal may seem “macho” or “violent” is because a lot of the topics use these ideas to point out the follies of the human experience, such as some elements in history, or the War in Iraq example from earlier. The aggressive energy of both the sound and lyrics of metal is a result of the intensity of the issues discussed.

44 Norther, 2006. Till Death Unites Us (Universal: B000EZ8B20). 45 Blind Guardian, 1995. Imaginations from the Other Side (EMI: B000005RU0). 46 Fireaxe, 1999. Lovecraftian Nightmares (B000P0ZE0G). Of the 62 metal fans that were surveyed, 24 wrote that a common stereotype associated with metal is that is it “Violent” or “Rebellious”. Many examples exist that illustrate how metal is not entirely based on ideas of “macho” personalities or “tough” attitudes. Adam Dutkiewicz (Killswitch Engage) often wears extremely tiny jean shorts during live performances, letting his underwear hang out, and as well sporting a small silky cape.47 Chris Adler (drums) and John Campbell (bass) of Lamb of God, as well as Brian Fair (vocals) of Shadows Fall are vegetarians.48 Alexi Laiho (guitar and vocals) and Janne Warmen (keyboards) of Children of Bodom sometimes “make out” with each other as a sign of affection for their friendship, as seen during their live DVD performance in Stockholm, Sweden.49 And as most people are aware, Rob Halford of Judas Priest is a homosexual. The idea of “suicide” is also often associated with metal music. The first few words from Killswitch Engage’s song “A Bid Farewell”, off the album The End of Heartache say, “I will bid farewell, sever the ties/This is all I am, this is all that’s left/Turn from deceit, the love of self is death.”50 It would be unlikely for someone to hear these lyrics and initially find them acceptable. Few people would understand how the love of self is death, and would likely label the message as repulsive. However, renowned spiritual teacher and author Eckhart Tolle would not be so quick to dismiss the message. In his national bestseller The Power of Now he explains how people associate with things in life that are not really “them”, such as their physical appearance, their social status, their relationships or their material possessions. “Death is a stripping away of all that is not you”, he explains. The secret of life is to ‘die before you die’ – and to find that there is no death.”51 There are many stories of people who survive close encounters with death, and afterwards become increasingly more appreciative and happy with their lives. During a potentially threatening accident on the freeway, for example, you come face to face with your potential demise. You are more alive then you have ever been before. So when Howard Jones writes, “The love of self is death,” he is not encouraging the listener to

47 Set This World Ablaze, Killswitch Engage, DVD, directed by Lex Halaby (2005; Worcester, MA: Warner Music Group). 48 PETA: People for the Ethical Treatment of Animals, Peta.org. 49 Chaos Ridden Years: Stockholm Knockout Live, Children of Bodom, DVD, directed by Patric Ullaeus (2006; Stockholm, Sweden: Universal Music Group). 50 Killswitch Engage, 2005. The End of Heartache (Roadrunner Records: B0007OY3V6). 51 Eckhart Tolle, The Power of Now (Canada: Namaste Publishing Inc. 1997) 38. commit suicide, but rather likely entertaining the idea of the raw you. By confronting and recognizing the reality of death, a subject we prefer to quickly dismiss, one becomes connected with their core. The message is extreme, but within it lives a certain element that we can all relate to, should we welcome it. To review, the lyrics of heavy metal are extremely difficult to understand, and once understood, are largely misinterpreted. Fans themselves even have difficulty making out lyrics—32 of the 62 surveyed fans admitted that they needed to consult liner notes, the Internet, or some other source before they were able to comprehend what was being said. Aggression, anger, violence, and other generally negative ideas are regularly traced to metal, but with research and clearer interpretations one will discover that this is a response to, and ultimately a disapproval of, certain downfalls in the construct of our society. One fan wrote that, “Life can be miserable, shitty, and lonely. Listening to metal brings all of these elements to the surface and embraces and embodies them.” These elements differ for each band and fan— some might be political, some might personal, etc.—but what all have in common is a justification for frustration. These outcries are not exclusive to metal music; there are many other types of music that voice frustration towards various elements of life. They just seem to come out with a little bit more power and intensity in metal music, because of the sound and the diction choice. And this is because, as the fan just quoted earlier wrote on the end of his survey, “There are certain situations in life when a metal soundtrack is required.”

The Audience of Metal

“Hollywood is a place where they'll pay you a thousand dollars for a kiss and fifty cents for your soul.” ‐Marilyn Monroe

The fans of heavy metal music have been perceived to some degree as angry, disrespectful, violent and intellectually limited over the years. Drawing from the sound that characterizes the genre, as well as the lyrical content, such stereotypes are reasonable. Heavy metal is an extreme art form that is largely misinterpreted—and these inaccurate perceptions are extended to the consumers, or fans, of the music as well. One fan explained, “I think that many metal fans are misunderstood either socially, religiously or maybe just as an individual.” Although many fans appear distinctive, either in dress or personality, they are not then also entire pariahs to society, or malicious by nature. Supporters enjoy the purpose and artistic energy of the genre—just like millions across the world enjoyed the movie Gladiator—but that does not indicate complete embodiment by the fan of those darker and heavier ideas. “I don’t care what someone thinks of me,” continues the fan, “because if they truly get to know me they know that I’m a nice guy.” In the spring of 1997, a study for The Journal of Music Therapy was released that focused on the relationship between metal and anger. As we know, metal music has been said to promote anger, violence, and similar negative traits. This study was attempting to discover if there was actually a significant relationship. For the experiment, 137 males were used—half were fans of heavy metal music and half were fans of country music. After listening to both genres, the participants were asked to fill out questionnaires relating to their experience. The study concluded that metal tended to arouse fans emotionally more than country, but that it certainly did not generate anger.52 The authors of the study reported that, “In this experiment, heavy metal fans were not angrier than country fans and experienced no differences in anger after listening to heavy metal music or country music.”53 The writers suggested that issues pertaining to family, friends, recreation, home, school, past history, temperament and drug and alcohol use are more valid predictors of an individual’s propensity for anger, rather than musical taste.54 A fan of metal music may be dealing with anger in his or her life, but that does not also mean that metal has caused that fan to be angry. The individual may bring outside sources of anger to metal as they listen to it, but in terms of being the “cause” of anger, this study confirms that the genre is not a starting place for anger development. Surveyed fans would agree with the inaccurate relationship—12 produced a written answer expressing how anger was a common stereotype that has been placed upon the metal community.

52 Larry Bloom and William Gowensmith, “The effects of heavy metal on arousal and anger,” Journal of Music Therapy, 34 (Spring 1997): “Arousal”. 53 Ibid, “Conclusions”. 54 Ibid, “Conclusions”. Sociologist Jeffery Arnett, in a similar study, explained that not only does metal not create anger within listeners, but that it also has a tendency to make already angry listeners become less angry, and, in part, allay their frustrations.55 Fans turn to metal as means to integrate their aggravations in life with the complementing energy of metal, and since the music is so sensitizing and stimulating, it provides a method for dealing with struggle that is hard to find in other alternatives. If someone is in a furious mood, turning on their favorite metal album will help to calm and settle their aggression, which is a much safer alternative to going out and starting a fight, for example. In another study by Arnett, the personalities of metal heads in suburban Atlanta, Georgia were examined. The advertisement for the study, which was placed in a local record store and offered an incentive of a cassette tape for participation, yielded 38 interested fans. Of those, three were selected for in depth interviews based on their involvement with the metal subculture. The first was highly involved, the second was moderately involved, and the third was mildly involved. Arnett’s description of the “moderate” fan may surprise those who perceive the audience for heavy metal as violent and pessimistic: The grimness of the heavy metal ideology seemed to him to speak the truth about the condition of the world, but this alienation did not extend to his personal life. He had not turned away from the hope that the world holds the possibility of a good and happy life for him. On the contrary, he was full of optimism, “always in a good mood”, wary of the corruptness of the world but fully expecting to find some happiness in it. 56

The mildly involved fan, Marvin, was married and hoping to become involved with investing. Arnett wrote that, “Altogether, Marvin’s future seemed promising, and it was a future that seemed very likely to include heavy metal music. Although not part of the subculture (and having no desire to be), he derived a deep enjoyment from being just outside of it, looking in with fascination.”57 The fact that Marvin’s future seemed bright would also likely surprise critics of the genre. In Running with the Devil, Walser cites metal adversary Charles M. Young’s

55 Jeffery Arnett, “Adolescents and heavy metal fans: From the mouths of metalheads,” Youth & Society, 23 (September 1991): 93. 56 Jeffery Arnett, “Three profiles of heavy metal fans: A taste for sensation and a subculture of alienation,” Qualitative Sociology, 16 (1993): 434. 57 Ibid, 437. comment in Musician Magazine in 1984 to show how many feel about the audience of heavy metal music. Young held that, “Heavy metal is transitional music, infusing dirtbags and worthless puds with the courage to grow up and be a dickhead.”58 Everyone is entitled to his or her view, but academic research is more credible than someone’s opinion. As seen, certain publications have been successful in lifting the false veil from heavy metal that has been so firmly wrapped around the genre for years. The misconception that the metal audience can be described as “dirtbags” and “puds” was a popular response under the “stereotypes” portion of the survey—17 fans wrote that metal fans are unjustly attributed to being unintelligent or useless to society. Another study from 1993 for the Journal of Research in Crime and Delinquency focused on the behavior of metal fans, and the results were positive, yet again. Although concluding the relationship between delinquency and metal fanship proved somewhat difficult, the researchers did find that metal fans were capable of good grades and being called intelligent. The publication reported that, “It is possible that heavy metal may attract intelligent youth whose rebellion takes the form of heavy metal music and delinquent behavior. Or, it may be that the better grades reflect a different academic track for more delinquent youth who prefer heavy metal.”59 The overall image of metal music nourishes the stereotype that fans are intellectually limited because the music is so unorthodox and harsh. If an outsider were to explore a metal concert, he or she would find many of the fans banging their heads (referred to as simply “headbanging”) and some would be taking part in a “mosh pit” in which fans push each other around in a very insistent manner. The behavior lends itself to being deemed barbaric or “unintelligent”, but many fans are just the opposite, as just illustrated. When asked the degree to which surveyed fans agreed with the statement, “I think for myself and would say that I’m an intelligent person,” the calculated average was 8.80, which was the highest of all 19 statements that survey takers were asked to rank. A recent study in the United Kingdom examined the musical preferences of 1,057 of the brightest five percent of students between the ages of 11‐19. Nic Fleming, science

58 Charles Young, “Heavy Metal,” Musician (September 1984) 40-44, cited by Walser. 59 Simon Singer, Murray Levine and Susyan Jou, “Heavy Metal Music Preference, Delinquent Friends, Social Control, and Delinquency,” Journal of Research in Crime and Delinquency, 30 (August 1993): 326- 327. correspondent for online magazine Telegraph, reported on the investigation and explained that a third of respondents rated heavy metal within their top five favorite genres of music and that 6% of respondents ranked it as their favorite genre. Fleming writes, “Researchers found that, far from being a sign of delinquency and poor academic ability, many adolescent ‘metalheads’ are extremely bright and often use the music to help them deal with the stresses and strains of being gifted social outsiders.”60 Any person who is moderately intelligent has the mental capacity to understand that the world we live in is far from perfect, and as said before metal is an outlet for dealing with some of the harsh realities of our society. Stuart Cadwallader, a University of Warwick psychologist, played a lead role in the study and supported the youths who chose to listen to metal. He commented, “Participants said they appreciated the complex and sometimes political themes of heavy metal music more than perhaps the average pop song. It has a tendency to worry adults a bit but I think it is just a cathartic thing. It does not indicate problems.”61 It is very easy to dismiss heavy metal as unintelligent music, but multiple studies have shown how the metal community is certainly describable as having reasonable intellect. One fan explained how metal’s “lack of intelligence” stereotype does not negate his appreciation of the music, but rather boosts it: “It actually increases my appreciation of the music because I interpret this stereotype as the result of the general public’s inability to comprehend more sophisticated lyrics and more complicated and faster melodies than the run of the mill pop music.” The Telegraph article refers to adolescent metalheads as “social outsiders”. This label is reasonably accurate, but also has a tendency for misinterpretation and plays into another stereotype that metalheads are entirely outcasts. It’s safe to say that metal fans are oftentimes somewhat distanced from society in certain ways, but they are definitely not fully reclusive. The survey asks fans if they have, “at least one other friend that is a metal fan,” and all but one respondent (who left the question blank) answered that they do. When asked to rate the value of the friendship, 36 choose “A best friend”, 14 chose “Strong”, 11 chose “Average” and zero chose “Weak”. As seen, almost all maintain at least one friendship with average or above

60 Nic Fleming, “Heavy metal a comfort for the bright child,” Telegraph Media Group Limited (March 2007): 3. http://www.telegraph.co.uk/. 61 Ibid, 7. average significance. The notion that metalheads are complete loners is largely inaccurate (6 fans also listed this as a common stereotype in short answer form) and unfortunately urges the public to perceive the metal community as lonely and apathetic in terms of support, when in fact the exact opposite is the case. Metal creates a close, loyal, committed group, and the audience for heavy metal makes for a strong community. The 1991 press release for the “Clash of the Titans” tour, which included Megadeth, Anthrax and Slayer says it best: “How do three bands with no Top‐40 or album‐rock airplay and scant radio play launch a tour of the same arenas as Billy Joel and U2? Answer: Fans.”62 Fans of metal are very serious about the music they listen to. It would be unusual to ask one a question about one of his or her favorite bands and get an unenthusiastic response. When asked, “How many hours do you listen to metal each day?” the average response was calculated to be 2.72 hours. The average age of fans was figured to be 22.72 years old, so it is safe to assume that by this age a reasonable amount have some level of responsibility or commitment (school, work, both, etc.) that would prevent them from listening to music during parts of their day. The fact that they squeeze in almost 3 hours of metal per day is noteworthy. The serious level of appreciation is also seen in that fact that fans, on average, rated the statement, “I feel a strong connection with metal bands I like and would say a mutual respect exists,” at 7.72. Other forms of pop music can definitely provide entertainment, but many songs you’ll hear on the radio don’t usually ask for substantial emotional commitment. Pop songs are fun and catchy, but at the end of the day, most don’t stay in your heart. One fan agreed when she wrote, “Most of what plays on the radio is so commercialized that it has lost its value. Everyone is doing the same thing these days. When a good metal band writes music, they put everything into it.” Another wrote, “It keeps the music more pure when it is not generally accepted by mass audiences.” The notion of “mutual respect” is a very powerful part of the metal world. Fans hold strong respect for their favorite bands, and bands hold strong respect for their fans. Bands also maintain a strong respect for other bands—many sport t‐shirts of other metal bands while performing, and many strong friendships exist between bands. The bands All That Remains,

62 Deanne Stillman, “Heavy-Metal Mania: It’s More Than Music,” New York Times (May 1991): H1. Killswitch Engage, Lamb of God and Shadows Fall, for example, are friendly and supportive of one another. In the bonus footage from Killswitch Engage’s live concert DVD, members from each speak fondly of one another. Randy Blythe of Lamb of God explains, “Before we started charting any of these bands, or having really big shows, we would all show up and see each other…It’s really important and it builds a really big feeling of community, you know, and it’s one that we’re really glad to be a part of.”63 In the metal community, whether you’re a band or a fan is not nearly important as the shared collective spirit and respect that resonates between participants. Before Darrell Abbot (“Dimebag Darrell”) of Pantera passed away, he said the following in Hit Parader magazine: Those people out there every night, they’re my life. They’ll never know how much they mean to me. Man, when I get up there I feel like a man possessed, and it’s all because of them. I don’t care if it’s the first night of a tour or the hundred and first—that’s the way I feel. I think that’s the way 64 we all react to the music we make.

On a survey, one fan that was only a recent fan of metal commented that, “In the relatively short time I have been listening to metal, I have grown to appreciate the passion of the fans and the community in general. At a show, it was almost surprising to see fans from all walks of life come together and support the music they love.” At non‐metal concerts, for lack of a better term, you’ll find people standing, maybe moving a little bit, and cheering in between songs. It would be inappropriate to exert a substantial amount of bodily energy, even if certain fans felt a desire to. At metal shows, however, fans are free to express themselves in any way they please. It is not uncommon for fans to give a show everything they’ve got, which is often displayed in activity referred to as “moshing”. From a bird’s eye perspective, a “mosh pit” will appear similar to the process of making popcorn—many objects being hurled around and briskly bumping into one another, without ever slowing down or backing off in intensity. Although the activity seems completely inhumane, it is relatively safe, and is simply an outlet for fans to express appreciation at a concert. In her novel “Death Metal Music”, metal scholar and researcher Natalie Purcell

63 Killswitch Engage, “Set This”. 64 Mitch Herskowitz, “We Remember Dimebag,” Hit Parader (February 2005): 72. describes the environment: “Mosh pits most certainly involve a release of emotion, of passion, and perhaps even of hostility, but as a general rule, this release is geared towards no one. Instead, such dancing is a shared experience among moshers who envision one another as friends or brothers more than enemies or opponents.”65 From personal experience, I’ve witnessed fans immediately stopping and helping a fan if they fall down—the “outsider” understanding is that the intention is for violence and hurting one another, but that is in fact seldom the case. “No matter how novice the mosher, it is rare for anyone to incur injuries that could be considered serious,” Purcell continues. “Years of field research for this study revealed no causalities suffering more than scrape or bruise.”66 I’ve personally been part of many mosh pits (some serving the most extreme types of metal out there), and although I always wake up sore, I never feel any pain that lasts for more than a few days. Purcell persists in her defense of mosh pits, paraphrasing Matt Medeiros’s (former member of the band Eschaton) research and reporting that, “bouncers working at shows overwhelmingly affirmed that they would prefer to work at a metal show than any pop show because there were fewer fights and less violence in the metal scene.”67 In the public’s eye, violence is generally most strongly linked to metal over other types of music, but from the accounts of concert bouncers and security, metal shows foster the least amount of hostility. In the April 2008 edition of Guitar World magazine, a question‐and‐answer section was included between the band Disturbed and its fans. One fan wrote, “I’ve read that some U.S. soldiers in Iraq play Disturbed’s music to psych themselves up. How does that make you feel?”68 Dan Donegan, the guitarist, responded warmly and recounted a time when a lieutenant and his wife presented the band with a Bronze Star after a concert. Donegan said the two were in tears and that it was the most touching moment in the band’s career: “[The lieutenant] said that our music was a constant presence for him and his troops in Iraq, and he felt that in a way we were with them on all of their missions…It was a very emotional night backstage.”69 Metal is an extremely empowering source of energy, and the fact that U.S. troops have become

65 Natalie Purcell, “Death Metal Music: The Passion and Politics of a Subculture,” (North Carolina: McFarland & Company, 2003) 34. 66 Ibid, 34. 67 Ibid, 35. 68 John Williamson, “Dear Guitar Hero,” Guitar World (July 2008): 39. 69 Dan Donegan, Ibid, 39. intimate and dependent on Disturbed is a testament to the positive spirit that metal can provide. Metal creates a companionship with fans, whether they’re at home living in a crumbling economy, or fighting for freedom in a war. To summarize, metal fans appreciate the genre because it can be empowering, cathartic and emotionally balancing, as well as foster mutual respect within the band‐fan relationship. This is a genre where ideas that are unsettling, yet also callously honest, are welcomed instead of frowned upon by fans. The statement, “I can sense themes of truth, honesty, and ‘being real’ in the metal I listen to,” was rated by fans at 7.89. Metal bands expose and confront difficult ideas, and fans receive them strongly. Standing up for what you believe in is an integral part of the metal philosophy, and because of this fans appear different than the average person. In a New York Times interview between the band Slipknot and writer Neil Strauss, drummer Shawn Crahan said about the band’s audience, “We never have anything negative to say to you, so long as you’re standing up for yourself.”70 Judging from Slipknot’s appearance, which is compiled of nine members who sport Halloween‐type masks while performing, it’s easy to let their message become overshadowed. In fact, many metal bands’ appearances, as well as those of fans, are off‐putting enough to where their purpose (integrity, passion, self‐respect, etc.) is not clearly understood. Metal fans appreciate the music because it speaks to them in ways that society does not. In the popular documentary Bowling for Columbine, director Michael Moore asked Marylin Manson how he would respond to the shooters at Columbine High School if he was given the chance: “If you were to talk directly to the kids at Columbine, or the people in that community, what would you say to them if they were here right now?” Manson simply responded, “I wouldn’t say a single word to them. I would listen to what they have to say, and that’s what no one did.”71

70 Neil Strauss, “Inside Slipknot: Music as ‘World Domination’,” New York Times (May 2000): E1. 71 Bowling for Columbine, DVD, directed by Michael Moore (2002; Jefferson County, CO: MGM). Final Thoughts

When metal first started to penetrate the world of music, such as with bands like Black Sabbath, Judas Priest, or Iron Maiden, society did not receive it warmly. The music incorporated elements that were unconventional and controversial and was branded, on some level, as taboo. Over the years, the negative buzz surrounding metal has settled to some degree, yet the intensity, power, passion, and sound has only grown in severity. Vocal tones progressed from being moderately tolerable to being seemingly unbearable, drumming became forceful and much faster, and guitar riffs became heavier and more distorted. Robert Walser chose to title his academic approach to heavy metal after the popular Van Halen song “Running with the Devil”—but today, only 14 fans approved Van Halen as a “metal” band. It is clear that fans of the modern day perceive metal in a vastly different way than fans from older generations. This shift in intensity could be a result of chance, but perhaps is rather a reflection of how society has changed over the years. Trends usually happen for a reason. In the world of heavy metal of the present day, there are really only two options—you’re either into to it, or you’re not. Fans that have spent time, years even, to become intimate with their favorite bands have realized that this is a type of music that you either feel in your heart or you don’t. Granted, many fans are welcoming of other types of music as well, and appreciate other things in life besides metal, but when it comes to being in the moment with one of their favorite metal artists, there’s just a certain feeling—a certain emotion—that awakens. One fan commented, “I listen to what I’m in the mood for and, often, that’s metal and no substitutes are effective.” Another wrote, “Anyone who says they’ll stop listening to metal in X amount of years doesn’t really ‘get’ it.” In fact, when asked when expected to grow out of metal, 58 of the 62 fans circled “Never”. Two even entertained the idea of having metal play at their funeral. The genre is a reflection of our largely imperfect society, but also a reminder that we are all only human. And although many will continue to strongly dislike the music, they should consider the fact the thousands and thousands of fans, across the globe, have warmly welcomed the music into their lives. Rock critic Ann Powers once wrote, “The fact that somebody out there loves a song doesn’t mean I can’t despise and eventually dismiss it. But it does mean I have to really think about what that song becomes when it’s played in a crowded room.”72 Heavy metal encourages its listeners to critically question the way society is developing, stand up for what they feel is right, and to embrace all elements, negative and positive, that life throws. Fans can be described as actively participating in exploring the human experience, instead of taking a passive approach and accepting what society deems as standard or appropriate. Alive or Just Breathing, as used in the title of this paper, is one of Killswitch Engage’s earlier albums73—and when it comes to the passion, integrity and lifestyle of the metal community, it’s certainly “alive”, not “just breathing”. The combination of metal’s sound, lyricism and audience is a relentless spirit that refuses to be broken. Pioneers of the genre held their ground against overwhelming criticism, and descendents continue to proudly carry the metal torch. “Metal confronts what we’d rather ignore, it celebrates what we often deny, it indulges in what we fear most. And that’s why metal will always be a culture of outsiders,”74 says Sam Dunn, at the end of his world‐spanning documentary Metal: A Headbangers Journey. The genre’s most popular stereotypes have become prominent in our society for a variety of reasons—but perhaps the chief cause stems from the fact that metal explores, without restraint, the weak spots of our society. Metal fans are not afraid to embrace what “we fear most”, and in fact, they become empowered, stronger, and even happier once having done so. One fan explained, “I’m a very happy person but still there are a lot of negative things in this world and metal helps me in dealing with such things.” The statement, “I’m a happy person,” returned an average of 8.77. Society’s ultimate dismissal of heavy metal music leads us to wonder what else in this world is not getting our proper attention. We all make judgments about what we think is right, proper, worthwhile or valuable, but we’d likely be surprised when we remember that some, if not many of these opinions are simply natural tendencies to dismiss what does not immediately appeal to us. Some of the things in life that people end up cherishing the most have come from an investment of time—it’s not often that we encounter something that becomes highly meaningful right away. Ultimately, we must ask: What else are we missing out on in this short,

72 Ann Powers, “Bread and Butter Songs: Unorginality in Pop,” In This is Pop: In Search of the Elusive at Experience Music Project, Ed. Eric Weisbard (Massachusetts: Harvard University Press, 2007): 244. 73 Killswitch Engage, 2002. Alive or Just Breathing (Roadrunner Records: B000065894). 74 Sam Dunn, Metal: A Headbanger’s Journey, DVD, directed by Sam Dunn (2005; Warner Home Video). but sweet thing we call life? I guess the only way to find out is to have a truly open mind, and to give everything reasonable exploration before passing it by. I’ve been listening to heavy metal for a good five years; it has become a defining characteristic of my personality and a great addition to my life. It’s not the only thing I care about (I recently took a 30‐day music fast as a personal challenge), but it’s something that I place great value on. I realize that not all metal bands deserve respect, and that not all metal fans are quality people—but I’ve found that many definitely are. And although we will continue, in some capacity, to be stereotyped for the music we choose to listen to, I know that we’ll continue to proudly listen to it. Will I ever grow out of heavy metal? Possibly, but as one fan wrote at the end of his survey, “Hopefully if I don’t enjoy listening to metal in the future, I’ll appreciate the reasons that I did listen to it at the time.” This stuff isn’t just music. It’s something that becomes a literal extension of your spirit. Nothing can interfere with a fan and their song, nothing can replace the emotional connection that develops. Heavy metal is a feeling—it’s simply something you earn. And now if you’ll excuse me, I’m going to go listen to a song that I’ve been saving for eight months until the completion of this paper. If that doesn’t give you an idea what it’s like, I don’t know what will.

Works Cited

Arnett, Jeffery. “Adolescents and heavy metal fans: From the mouths of metalheads.” Youth & Society 23 (1991): 76‐98.

______. “Three profiles of heavy metal fans: A taste for sensation and a subculture of alienation.” Qualitative Sociology 16 (1993): 423‐443.

Berger, Harris. “Death Metal Tonality and the Act of Listening.” Popular Music 18 (1999): 161‐178.

Binder, Amy. “Constructing Racial Rhetoric: Media Depictions of Harm in Heavy Metal and Rap Music.” American Sociological Review 58 (1993): 753‐767.

Blind Guardian, 1995. Imaginations from the Other Side (EMI: B000005RU0).

Bloom, Larry and Gowensmith, William. “The effects of heavy metal on arousal and anger.” Journal of Music Therapy 34 (1997): “Arousal.”

Bowling for Columbine. DVD. Directed by Michael Moore. (2002) Jefferson County, CO: MGM.

Bryson, Bethany. “Anything But Heavy Metal: Symbolic Exclusion and Musical Dislikes.” American Sociological Review 61 (1996): 884‐889.

Buechler, Bob. “Free The West Memphis Three.” Case Info. WM3.org.

Chaos Ridden Years: Stockholm Knockout Live. Children of Bodom. DVD. Directed by Patric Ullaeus (2006) Stockholm, Sweden: Universal Music Group.

Elvis Presley, 1956. Heartbreak Hotel (BMG: B000CQO11G).

Fast, Susan. In the Houses of the Holy: Led Zeppelin and the Power of Rock Music. USA: Oxford University Press, 2001.

Fireaxe, 1999. Lovecraftian Nightmares (B000P0ZE0G).

Fleming, Nic. “Heavy metal a comfort for the bright child.” Telegraph Media Group Limited March 2007: 3. http://www.telegraph.co.uk/.

Frith, Simon. Music For Pleasure: Essays in the Sociology of Pop. Cambridge: Polity Press, 1988.

Gloversmith, Leander. “Current Affairs.” Terrorizer magazine: May 2004.

Gore, Tipper. Raising PG Kids in an X‐Rated Society. Nashville: Parthenon Press, 1987.

Hamm, Charles.“Rock and the Facts of Life.” Harvard Library Bulletin. 2/1(1991).

Harris, Kieth. “‘Roots’?: the relationship between the global and the local within the Extreme Metal scene.” Popular Music 19 (2000).

Henderson, Tim. “Lamb of God featured in LA Times.” BW & BK Magazine (December 2007): originally cited at latimes.com. www.bravewords.com/news/79477

______. “SLAYER’s Tom Araya On New Material, Vinyl Box‐Set, Being Spiritual.” BW & BK Magazine (January 2008): www.bravewords.com/news/80747.

Herskowitz, Mitch. “We Remember Dimebag.” Hit Parader (February 2005).

Horatio. “An interview with Mark Morton from Lamb of God.” (July 2006): www.kickedintheface.com/interviews/Lamb_Of_God_1.htm.

Iron Maiden, 1982. The Number of the Beast (Raw Power: B00000BKDU).

Killswitch Engage, 2002. Alive or Just Breathing (Roadrunner Records: B000065894).

______, 2005. The End of Heartache (Roadrunner Records: B0007OY3V6).

Klosterman, Chuck. Fargo Rock City. New York, Scribner: 2001.

Lamb of God, 2004. Ashes of the Wake (Sony: B0002S94OS).

Mäenpää, Jari. “Wintersun Official Homesite.” (April 2007): http://witnermadness.net/.

McLeod, Ken. “Bohemian rhapsodies: operatic influences on rock music.” Popular Music 20 (2001): 189‐203.

Mendelsohn, John. “Black Sabbath Performs at Long Beach Arena.” LA Times (September 1971).

Metal: A Headbanger’s Journey. DVD. Directed by Sam Dunn (2005: Warner Home Video).

Mish, Frederick Ed. Webster’s Ninth New Collegiate Dictionary. Massachusetts: Merriam‐Webster Incorporated, 1989.

Norther, 2006. Till Death Unites Us (Universal: B000EZ8B20).

Palmer, Robert. “Dark Metal: Not Just Smash and Thrash.” New York Times (November 1990).

PETA: People for the Ethical Treatment of Animals, Peta.org.

Pierce, Leonard. “Rob Zombie: Letting It All Bleed Out.” Metal Edge (March 2008).

Pieslak, Jonathan. “Re‐casting Metal: Rhythm and meter in the music of Meshuggah.” The Journal of the Society for Music Theory 29 (2007): 219‐245.

Powers, Ann. “Bread and Butter Songs: Unorginality in Pop.” In This is Pop: In Search of the Elusive at Experience Music Project, Ed. Eric Weisbard. Massachusetts: Harvard University Press, 2007): 235‐244.

Purcell, Natalie. “Death Metal Music: The Passion and Politics of a Subculture.” North Carolina: McFarland & Company, 2003.

Set This World Ablaze. Killswitch Engage. DVD. Directed by Lex Halaby (2005; Worcester, MA: Warner Music Group).

Singer, Simon Murray Levine and Susyan Jou. “Heavy Metal Music Preference, Delinquent Friends, Social Control, and Delinquency.” Journal of Research in Crime and Delinquency 30 (1993): 317‐329.

Slayer, 1990. Seasons in the Abyss (Sony Legacy: B000RZGFZC).

Stillman, Deanne. “Heavy‐Metal Mania: It’s More Than Music.” New York Times (May 1991).

Strauss, Neil. “Inside Slipknot: Music as ‘World Domination’.” New York Times (May 2000).

The Zen of Screaming. DVD. Directed by Denise Korycki (2007: Warner Bros Publications).

Tolle, Eckhart. The Power of Now. Canada: Namaste Publishing Inc., 1997.

Walser, Robert. Running with the Devil: Power, Gender and Madness in Heavy Metal Music. New Hampshire: Wesleyan University Press, 1993.

______. “Heavy Metal and The Highbrow/Lowbrow Divide.” In The Rock History Reader, Ed. Theo Cateforis. (New York: Routledge Press, 2007): 235‐245. Wiederhorn, John. “Rebel Meets Rebel,” Revolver Magazine (November 2007).

Williamson, John. “Dear Guitar Hero.” Guitar World (July 2008).

Young, Charles. “Heavy Metal.” Musician (September 1984) originally cited by Walser.

Appendices Appendix A: Survey

Thank you for taking a few minutes to fill out this survey. Your participation is much appreciated. All of your responses are completely anonymous and are being used for a research paper on Heavy Metal in the 21st Century.

1. How long have you been listening to metal? ___ years

2. How many hours do you listen to metal each day? 1 2 3 4 5 6 7+

3. What are your three favorite bands? ______

4. What is your age? ___ years old. What is your gender? Male Female

5. Do you have at least one other friend that is a metal fan? Yes No

6. How would you rate the value of this particular friendship? Weak Average Strong A best friend

5. How important are the following metal elements for you?

Level of Extremely Somewhat A little Not at all Importance Guitar Solos Passion Lyrics Power Musicianship Originality

6. Circle the bands would you label as “metal”:

Iron Maiden Twisted Sister Rage Against the Machine Dimmu Borgir Guns N’ Roses KISS Shadows Fall Black Sabbath Ratt The Who Van Halen Lamb of God Nightwish Linkin Park Killswitch Engage Children of Bodom Avenged Sevenfold Death All That Remains Metallica Poison Slayer Godsmack Disturbed Anthrax Led Zeppelin Slipknot AC/DC

7. What is your definition of “metal”? Be descriptive.

8. List three stereotypes that you feel are placed upon metal bands, metal fans and the metal community in general:

1)

2)

3)

9. Do metal’s stereotypes affect your appreciation of the music? Why or why not? 10. For the following statements please rank the degree to which you agree. Use a scale of 1-10, with 1 being that you strongly disagree and 10 being that you strongly agree.

1. It takes a great musician to compose heavy metal. [ ] 2. I have trouble listening to heavy metal at moderate to low volumes. [ ] 3. American metal is respected and known globally (in the metal community). [ ] 4. Some of the ideas expressed in metal are universally important and applicable. [ ] 5. Metal is just “pissed-off” music with no real value or positive message. [ ] 6. I can sense themes of truth, honesty, and “being real” in the metal I listen to. [ ] 7. It takes commitment and close listening to truly begin to appreciate a metal band/song/album. [ ] 8. I can tend to feel embarrassed that I listen to metal and attempt to hide it at times. [ ] 9. The fact that metal is unpopular draws me to it more. [ ] 10. Metal deals with things that nobody else will address. It deals with important issues. [ ] 11. The screaming and yelling elements of metal can be done by just about anyone. [ ] 12. Metal is much tougher to appreciate than other music, but has more rewarding value once into it. [ ] 13. I think for myself and would say that I’m an intelligent person. [ ] 14. I become negative and unhappy when I listen my favorite metal bands. [ ] 15. I feel a strong connection with metal bands I like and would say a mutual respect exists. [ ] 16. If I’m at a concert of a band I like, I want to go crazy, not just calmly watch from the back. [ ] 17. Once or more, I have felt alone, different, and like an outcast for my true beliefs, but still proud. [ ] 18. I have learned valuable things from the metal bands I listen to. [ ] 19. I’m a happy person. [ ]

11. Do you sing along with metal lyrics? Was it a challenge to learn the lyrics, and if so, how did you learn them? Please be completely honest.

12. Some metal enthusiasts would argue that the music is very “authentic”. Why do you think metal fans value ideas such as honesty, truthfulness, and “being real”?

13. Think of one of your favorite metal bands (that is still making music). When they release their next album, do you expect to appreciate it right away, or will it take time and patience to fully be grateful for it? Why?

14. Do you consistently listen to or have a respect for any of the following American metal bands: Circle all that apply.

Shadows Fall Killswitch Engage Lamb of God All That Remains

15. When will you “grow out” of metal? 5 years 10 years 15 years 20 years Never Why?

Thank you very much for your participation. If you have any other thoughts or concerns about metal that you would like to share, please write them out below or on the back of this sheet.

Appendix B: Basic Results

How long have you been listening to metal? Average of 8.94 years

How many hours do you listen to metal each day? Average of 2.72 hours (2 fans left the question blank, thus the average was taken for 60, not 62, fans)

What is your age? Average of 22.27 years old

What is your gender? Male: 47 Female: 11 Undisclosed: 4

Do you have at least one other friend that is a metal fan? Yes: 61 Undisclosed: 1

How would you rate the value of this particular friendship? A Best Friend: 36 Strong: 14 Average: 11 Weak: 0

Appendix C: Importance of Metal Elements

Level of Extremely Somewhat A little Not at all Importance Guitar Solos 18 14 22 1 5 1 Passion 48 5 5 1 1 1 Lyrics 15 12 21 1 8 2 2 Power 36 10 12 2 1 Musicianship 40 8 12 1 Originality 33 8 16 2 1 1

Appendix D: Fans’ favorite bands

12 STONES: 1 EMPEROR: 2 OPETH: 2 AVENGED SEVENFOLD: 1 ENSIFERUM: 3 OVERKILL: 1 ABORTED: 1 FEAR FACTORY: 1 OZZY: 1 AC/DC: 1 FOGHAT: 1 PANTERA: 5 AFI: 1 GARTH BROOKS: 1 PINK FLOYD: 1 AGAINST ME: 1 GODSMACK: 2 QUIET RIOT: 1 ALL SHALL PERISH: 1 GUNS N’ ROSES: 3 RADIOHEAD: 1 ALL THAT REMAINS: 3 GWAR: 2 RAMMSTEIN: 2 AMERICAN HEAD CHARGE: 1 HIMSA: 1 RIVET: 1 AMON AMARTH: 3 ICED EARTH: 2 ROTTING CHRIST: 1 ANTHRAX: 1 IMPENDING DOOM: 1 RUNNING WILD: 1 ARCH ENEMY: 1 IN FLAMES: 1 SANCTITY: 1 ARJEN LUCASSEN: 1 IRON MAIDEN: 6 SAOSIN: 1 AS I LAY DYING: 1 JUDAS PRIEST: 1 SCAR SYMMETRY: 1 ATREYU: 1 KALMAH: 1 SHADOWS FALL: 3 BATHORY: 1 KATATONIA: 1 SLAYER: 1 BLACK DAHLIA MURDER: 1 KILLSWITCH ENGAGE: 5 SLIPKNOT: 1 BLACK LABEL SOCIETY: 1 KING DIAMOND: 1 SMASHING PUMPKINS: 1 BLACK SABBATH: 3 KORN: 1 SOILWORK: 2 BLIND GUARDIAN: 1 KREATOR: 1 SOUNDGARDEN: 1 BLOC PARTY: 1 LAWRENCE ARMS: 1 STEEL DRAGON: 1 BOB MARLEY: 1 LED ZEPPELIN: 2 STRAPPING YOUNG LAD: 2 BRIAN JONESTOWN LINKIN PARK: 1 STRATOVARIUS: 1 MASSACRE: 1 LAMB OF GOD: 4 SUBLIME: 1 BURZUM: 1 MACABRE: 1 SUMMONING: 1 CANNIBAL CORPSE: 1 MAYLENE & THE SONS OF THE DEVIL WEARS PRADA: 1 CHIMAIRA: 1 DISASTER: 1 THE GATHERING: 1 CHILDREN OF BODOM: 8 MEGADETH: 5 THE NOTWIST: 1 COHEED AND CAMBRIA: 1 MERCYFUL FATE: 2 THE SINS OF THY BELOVED: 1 CONVERGE: 1 METALLICA: 13 THREE DAYS GRACE: 1 CRADLE OF FILTH: 1 MOONSORROW: 1 TOOL: 2 DAFT PUNK: 1 MÖTORHEAD: 2 TWISTED SISTER: 1 DANZIG: 1 MY DYING BRIDE: 1 TYPE O NEGATIVE: 1 DESPISED ICON: 1 NECROPHAGIST: 1 UNEARTH: 2 DEVIL DRIVER: 2 NIGHTWISH: 1 VAN HALEN: 3 DISARMONIA MUNDI: 1 NILE: 1 WAKING THE CADAVER: 1 DISTURBED: 1 NORTHER: 4 WINDS: 1 DRAGONFORCE: 1 OKKERVIL RIVER: 1 WINTERSUN: 3 DREAM THEATER: 3

Appendix E: Bands approved as “metal”

AC/DC: 15 LED ZEPPELIN: 16 ALL THAT REMAINS: 38 LINKIN PARK: 6 ANTHRAX: 40 LAMB OF GOD: 54 AVENGED SEVENFOLD: 27 METALLICA: 56 BLACK SABBATH: 37 NIGHTWISH: 33 CHILDREN OF BODOM: 52 POISON: 15 DEATH: 37 RAGE AGAINST THE MACHINE: 10 DIMMU BORGIR: 44 RATT: 11 DISTURBED: 22 SHADOWS FALL: 44 GODSMACK: 19 SLAYER: 60 GUNS N’ ROSES: 18 SLIPKNOT: 33 IRON MAIDEN: 54 THE WHO: 7 KILLSWITCH ENGAGE: 41 TWISTED SISTER: 13 KISS: 13 VAN HALEN: 14

Appendix F: Average degree of agreeability; 1 (strongly disagree) – 10 (strongly agree)

1. It takes a great musician to compose heavy metal: 6.89

2. I have trouble listening to heavy metal at moderate to low volumes: 6.23

3. American metal is respected and known globally (in the metal community): 6.39

4. Some of the ideas expressed in metal are universally important and applicable: 7.77

5. Metal is just “pissed‐off” music with no real value or positive message: 1.53

6. I can sense themes of truth, honesty, and “being real” in the metal I listen to: 7.89

7. It takes commitment and close listening to truly begin to appreciate a metal band/song/album: 7.29

8. I can tend to feel embarrassed that I listen to metal and attempt to hide it at times: 1.98

9. The fact that metal is unpopular draws me to it more: 4.41

10. Metal deals with things that nobody else will address. It deals with important issues: 5.66

11. The screaming and yelling elements of metal can be done by just about anyone: 2.77

12. Metal is much tougher to appreciate than other music, but has more rewarding value once into it: 6.59

13. I think for myself and would say that I’m an intelligent person: 8.80

14. I become negative and unhappy when I listen my favorite metal bands: 1.85

15. I feel a strong connection with metal bands I like and would say a mutual respect exists: 7.72

16. If I’m at a concert of a band I like, I want to go crazy, not just calmly watch from the back: 7.34

17. Once or more, I have felt alone, different, and like an outcast for my true beliefs, but still proud: 6.18

18. I have learned valuable things from the metal bands I listen to: 7.08

19. I’m a happy person: 8.77