Song Lyrics in Contemporary Metal Music As Counter-Hegemonic Discourse: an Exploration of Three Themes
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Free Inquiry In Crealive Sociology Volume 33 NO.2 November 2005 131 SONG LYRICS IN CONTEMPORARY METAL MUSIC AS COUNTER-HEGEMONIC DISCOURSE: AN EXPLORATION OF THREE THEMES Adam Rafalovich, Pacific University and Andreas Schneider, Texas Tech University ABSTRACT This paper discusses modern forms of metal music as extensions of the politics of youth culture, Based upon the premise thai texts form an 'ideological contract' with their audiences, an extensive examination of the aesthetic and lyrical content of metal music is provided. The authors conclude thai the conlenl of metal music exists in a reciprocal relation with its listening base, and provides a lens through which their modern-day subjective experiences lllay be understood. In illustrating this reciprocity the authors explore the vasl literature which casts a condcnlnalory gaze upon metal music and then demonstrates how a discourse analysis of this musical genre may avoid such condemnation. and posit a political discussion of it. Three of metal music's most predominant themes are discussed at length: I) psychological chaos: 2) nihilism/violence: and 3) alternative religiosity. Such themes arc placed against a cultural backdrop depicting the dominant modes of 'appropriate conduct: and arc articulated as a political reaction against such modes in Western societies. INTRODUCTION A 'contract' involves an agreement that a The discussion of metal music as a po text will talk to us in ways we recognize. It litical formalion 01 youth culture is a margin will enter into a dialogue with us. And that alized one. We argue here tor the necessity dialogue, with its dependable elements and of such a perspective-thai the lyrical and form, will relate to some aspect of our lives aesthetic content of metal music are integral in our society. (Barker 1989 261) aspects of youth identity and reflect the power struggles young people have with contem Barker further argues that the popularity of a porary culture. Moreover, metal music is not cultural form is largely contingent upon its just a forum for young people to vent amor perceived authenticity: in "speaking to" an phous and undefined aggressions, but in audience it must reflect the experiences of stead, speaks directly to them. This essay that audience. Text and audience are there will explore some of Ihe major themes that fore mutually-obligated; the text provides a typify metal music in the American and Euro reflective capacity for the audience who in pean scene, and demonstrate how these turn become its interlocutor. themes are indicative of some of the cultural Barker's and other writings of this ilk il problems young people confront. The seem lustrate the contractual agreement between ingly dogmatic subscription to messages in text and audience in ways that are very rel metal music-for example, those of violence, evant for understanding the politics of con insanity, and Satanism-illustrate resistance temporary youth and their motives for con to socielal conditions that are legitimately suming and contributing to various forms of experienced by young people. We discuss popular culture. Of particular concern in this patterns in the narrative structure of popular study is the cultural form of metal music' and metal music lyrics as well as some aesthetic the degree to which this musical genre dem aspects of this music genre. Adopting a multi onstrates a political reciprocity with young theoretical approach, we contend that such people. Two theoretical propositions need lyrics constitute valuable texts that may be mentioning here: first, the scope of a cultural used to better understand contemporary an form-including its national and international tagonisms between social tends and the visibility-is contingent upon the mainte youth who are subjected to such trends. nance of a contract that involves a commit As disseminators of ideology, texts es ment to reflect people's experiences, and tablish reciprocity with their readership. For second, a cultural form's amount of influ example, Martin Barker (1989) contends that ence, its "staying power," is contingent upon the relationship between a text and its audi a degree of fit between audience and its ence is "contractual": message. From these propositions it can 132 Volume 33 No.2 November 2005 Free Inquiry In Creative Sociology be argued that the marked international in guably many other metal recording artists, fluence of metal music stems from the fact the demolition of established truths begins that the genre continues to reflect the vicissi a process of asserting one's own personal tudes of youth culture. Today's metal scene truth. The "tuck it" message of metal provides engages in a symbolic interplay with its lis the fertile soil for exploring the possibility of tening base, where young listeners match becoming "anything you want." its lyrical and aesthetic content to their own subjective experiences. Hence, the narrative METHOD structure of popular music is continually The academic literature addressing the changing. Though it is a matter ot course metal genre must include the perspectives that audiences "relate" in some way to the of those having first-hand experience with it. music they appreciate, the specifics of this As an avid listener for many years and drum symbolic interplay need further elaboration. mer in a metal band, the first author writes We may begin with lyrics from Roadrun as a "native" to the metal scene. The second ner recording artists and platinum-selling author is also an avid listener to past and metal band, Slipknot: contemporary metal music, and has been involved with the punk and rock scene in the Fuck it all. Fuck this world. Fuck everything US and Europe' for three decades. Together, that you stand for. Don't belong, don't exist, both of us have seen hundreds of rock and don't give a shit. Don't ever judge me. metal shows and have read more librettos (lyric inserts) than one could possibly count. An interpretation of these words conjures a Because of our long-term involvement with discussion of nihilism; not in the haughty, metal, we feel that we can avoid the con Nietzschean sense, but rather, a shallow, list demnatory stances that characterize previ less nihilism forced upon the listener as an ous accounts of the genre and provide a instruction to turn his back on all codes of glimpse into some of its political meanings. morality and head down the path of self-de Our data selections for this paper are struction. Furthermore, the immense popu based upon a convenience sample, where larity of such lyrics (Slipknot's debut album we keep in mind some of contemporary sold over 3 million copies) may be seen as metal's most influential domestic and inter indicative of many of the problems associ national recording artists. We did an exhaus ated with today's youth: a lack of role mod tive content analysis of librettos from over els, a lack of attainable goals, a Nintendo two·hundred metal recordings. Librettos numbed sensibility in which responsibilities were analyzed according to an interpretive are shirked, and so on. However, Slipknot approach, using grounded theory techniques member Shawn Crahan offers a very differ (Glaser 1978,1992; Glaser & Strauss 1967; ent perspective on his band's music and the Strauss & Corbin 1990). Analyses of the data messages it conveys: began with "open coding," where data were categorized indiscriminately, followed by a We are here to wake you up and kilt the part "closed coding" procedure in which data were of your brain that tells you that you can't. examined for specific themes after prelimi It's not about me. It's about what I'm doing nary categories had been established. for kids. When I walk out onstage, there's Following a summary of the condemna 15,000 kids that, to me, represent potential. tory stances taken toward metal music in aca· And I'm here to tell you, to tell them that no demic writing, this paper is organized into matter what they say, you can be from no three sections which discuss predominant where and you can break out and become themes in this musical genre. The first of anything you want. Because the bottom line these sections is devoted to the illustration is that this is your lifetime. This is your time, of psychological chaos in metal music-a here, now, on this planet. (Orshoski 2001 theme that attacks established notions of 16) mental hygiene that define who is emotion ally "heaithy" and who is not. This narrative To '1uck everything" from this perspective is questions the pathologizing of chaotic states to demolish what young people have been of mind, and the belief that others should be told to believe in, but not for the sake of demo a source of emotional solace. The second lition. Instead, according to Crahan, and ar- section, nihilism/violence, draws from a con· Free Inquiry In Creative Sociology Volume 33 NO.2 November 2005 133 glomeration of narratives in metal music that 1993), Satanism (Trzcinski 1992) and sui advocate multiple forms of anti-social behav cidal ideation (Graham 1993; Stack 1998; ior. We argue that the expression of the pos Scheel & Westerlield 1999). Some of these sibility of anti-social behavior, rather than its studies contend that metal is an influential actual enactment, is highly political. The third variable in troublesome behaviors and atti section, alternative religiosity, explores tudes, while others contend that preferences loday's Satanic narratives in metal music, tor metal are "red tlags" for concerned par and also those which invoke Nordic religious ents and child psychologists. Whether im systems. To illustrate this we focus upon the plicating metal as a causal variable in the cultural politics of metal music stemming troubles of youth or viewing the popularity at from Scandinavian countries.