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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate

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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. To attain publicity and promotion, bands need to acquiesce to the wishes of assorted media entities like radio or television. Functioning within a subcultural genre, the band must also account for maintaining the normative practices deemed mandatory for subcultural membership while being mindful of the preferences for those consuming their performance, their audience. In other words, the musicians must adapt their performance to balance the demands of critics, peers, and a purchasing public in such a way as to appear innovative and authentic while iv retaining ties to a normative subcultural standard. It is at the nexus of these factors that metal performativity is being explored. Ultimately, the shift from subcultural distinction to mainstream commercialization illustrates metal’s lasting legacy as a popular cultural entity effective in reestablishing larger mass-cultural hegemonies. v ACKNOWLEDGEMENTS Writing this section reminds me of album liner notes – the opportunity to give thanks and praise to all the kind souls surrounding the end product. Throughout this process, I’ve been fortunate enough to have a multitude of friends, family, colleagues, and mentors to motivate me, critique me, praise me, argue with me, and most importantly, support me. This project is partly the result of their efforts and energies, and I am truly grateful to all that contributed. In common liner-note speak, you folks know who you are. Following the liner note theme, some special thanks are in order. My gratitude goes to Dr. Joe Austin and Dr. Lisa Wolford-Wylam for their past contributions as committee members. I thank Dr. Ron Shields and Dr. Don McQuarie for stepping in and seeing me to the finish. Dr. John Makay deserves considerable credit for steadfastly making it through the full journey. Finally, I graciously thank Dr. Jeff Brown for all his efforts in taking on the responsibility of being the chair. Your willingness to take on the extra burden, let alone offer me considerable insight and support, will not be forgotten. Thanks to all who have provided me with the joy of playing music and indulging my rockstar fantasies. A well-deserved “metal horns” salute goes out to my BG musical compatriots Dan Shope and Mike DuBose, and my Kristeva bandmates Mike Albrecht and Matt Ascah. My greatest metal influences are Eric Penne, Bryan Penne, and Tim Slack. Whether they are called Cookie Mold, Cheeze, or Smokey E, Smokey T, and Smokey Bry, this group of gentlemen have become my deepest friends and my brothers. I thank my beloved brother, Greg Klypchak, for being my true musical inspiration. Greg deserves the credit (and blame) for introducing me to collecting albums, coveting stereo equipment, and sparking the true fan’s passion for listening, reading, and critiquing music. I just vi wish I could return the favor and get him to listen to more metal.... ...which would still be more than my dad would ever consider listening to... My parents, Walter and Carol Klypchak, are the folks I dedicate this dissertation to. You have both given me so incredibly much. As much as I try to describe my appreciation and love for you, I never seem to get anywhere close. Thank you for tolerating “that racket” and for affording me the privilege of being your son. Finally, I never could have accomplished this goal without the ongoing love and support of my wife, Carrie Lee Klypchak, and our pup, K-Lee. With every puppykiss I receive and every adventure K-Lee and I share, I am rejuvenated by experiencing how pure joy and enthusiasm can encompass every moment, provided one takes the time to sniff it out or chase it down. And to my dear Carrie, you have given me countless gifts: courage to try, fail, and continue on, strength to persevere, rebuild myself and move forward, hope to look ahead and remain positive, trust in myself and in our togetherness, and most importantly, love. I thank you for each and every one of those little explosions of bliss that burst within my chest, the ones that seem to coincide with every time I look into your eyes or take you in my arms. I can only hope that I provide you with at least a semblance of what you have given and continue to give to me. vii TABLE OF CONTENTS CHAPTER I. “HIT THE LIGHTS”.................................................................................... 1 CHAPTER II. “YOU CAN’T STOP ROCK AND ROLL”................................................. 29 CHAPTER III. “YOUTH GONE WILD”.............................................................................. 66 CHAPTER IV. “THE REAL THING”................................................................................... 124 CHAPTER V. “STRANGER IN A STRANGE LAND”..................................................... 189 CHAPTER VI. “BACK FROM THE DEAD”...................................................................... 251 WORKS CITED....................................................................................................................... 276 APPENDIX A METAL ALBUM CHRONOLOGY............................................................ 309 APPENDIX B LISTENING SUGGESTIONS..................................................................... 338 APPENDIX C FIGURES..................................................................................................... 340 viii LIST OF FIGURES Figure Page 1 The “Blind in Texas” photo (1989)......................................................................... 340 2 Reunion in the workshop (1999)............................................................................. 340 3 Cover art for Iron Maiden “Sanctuary” single (1981)............................................. 340 4. Sleeve art from Twisted Sister You Can’t Stop Rock n Roll (1983)........................ 340 5 Slayer’s War Eagle logo.......................................................................................... 340 6 Cover art for Anthrax Fistful of Metal (1984).......................................................... 341 7 Front and back covers from S.A.D.O. Dirty Fantasy (1988)................................... 341 8 Front cover and band photo from Tigertailz Young and Crazy (1987).................... 341 9 Sleeve art from Tigertailz Young and Crazy (1987)................................................ 342 10 Cover art from Lizzy Borden Menace to Society (1987)......................................... 342 11 Blackie Lawless as pictured on the sleeve of W.A.S.P. Live in the Raw (1997)..... 342 12 Cover art from Venom Welcome to Hell (1981)...................................................... 342 13 Cover art to Powermad Absolute Power (1988)...................................................... 342 14 Cover art from Atrophy Socialized Hate (1987)...................................................... 343 15 Motley Crüe Gangster poster (1986)....................................................................... 343 16 Cover art from Poison Look What the Cat Dragged In (1986)................................ 343 17 Back cover art from Znowhite Act of God (1986)................................................... 344 18 Inner sleeve picture of Lorraine Lewis from Femme Fatale S/T (1988).................. 344 19 Cover art to Lita Ford Out for Blood (1983)............................................................ 345 20 Picture from inside cover of Lita Ford Stiletto (1991)............................................. 345 21 Inner sleeve from Judas Priest Screaming for Vengeance (1982)............................ 345 1 CHAPTER I. “HIT THE LIGHTS” “An El Paso hellhole, I couldn’t get higher.” For the first time in ten years, my friends and I are finally jamming together again. “Blind in Texas” (1985), a cover version of a W.A.S.P. song, was immortalized long ago in a photo (see
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