University of Kentucky UKnowledge Theses and Dissertations--Music Music 2013 Unlocking the Paradox of Christian Metal Music Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "Unlocking the Paradox of Christian Metal Music" (2013). Theses and Dissertations-- Music. 9. https://uknowledge.uky.edu/music_etds/9 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. 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REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s dissertation including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Eric S. Strother, Student Dr. Ronald A. Pen, Major Professor Dr. Lance Brunner, Director of Graduate Studies UNLOCKING THE PARADOX OF CHRISTIAN METAL MUSIC DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Fine Arts at the University of Kentucky By Eric Scott Strother Lexington, Kentucky Director: Dr. Ronald A. Pen, Professor of Music Lexington, Kentucky 2013 Copyright © Eric Scott Strother 2013 ABSTRACT OF DISSERTATION UNLOCKING THE PARADOX OF CHRISTIAN METAL MUSIC In 1984, Stryper released its first album The Yellow and Black Attack and introduced audiences to a different kind of heavy metal. Instead of lyrics about sex, alcohol, and Satan, Stryper sang about Jesus, salvation, and God. While there were a number of fans ready for this change more were not. Members of the Church as well as members of the metal subculture were in agreement that Christianity and heavy metal were incompatible. Despite these objections, however, more bands emerged, and Christian metal became a significant genre within the Christian music industry. These bands presented Christian-oriented lyrics within the full spectrum of metal subgenres. This dissertation examines the ways in which Christian metal bands create an intersection between Christianity and the heavy metal subculture, infusing Christianity within the textual, visual, and musical structures of heavy metal. The author employs Deena Weinstein’s “metal code” to frame the analysis. The metal code includes the textual elements (band names, album and song titles, and song lyrics); the visual elements (band logos; album covers; and the various elements of the concert experience including the bands’ appearances, the staging, the interactions with the fans, and music videos); and the musical elements (timbre, modality, formal structure, and production of the songs and albums) that set metal apart from other musical genres. The dissertation also examines the concept of bands as “metal missionaries” that immerse themselves within the heavy metal subculture for the purpose of bringing the Christian message of hope and salvation. The author concludes that even though Christian metal bands modify aspects of elements that are otherwise incompatible with their Christian beliefs and message, they still maintain a sense of stylistic integrity that gives them credibility within the heavy metal subculture and allows them to fulfill their mission. KEYWORDS: Music, heavy metal, Christianity, popular music, contemporary Christian music Eric S. Strother Student Signature January 16, 2013 Date UNLOCKING THE PARADOX OF CHRISTIAN METAL MUSIC By Eric Scott Strother Ronald A. Pen Director of Dissertation Lance Brunner Director of Graduate Studies January 16, 2013 To my wife, Tammy, and our precious sons, Jacob and Andrew: I love you more than I could ever imagine is possible. You are my joy. ACKNOWLEDGMENTS This work would not have been possible without the assistance, participation, and support of many people. First is my committee chair Ron Pen, who never blinked when presented with “Christian heavy metal” as a research topic. I began this process with the horror stories of dissertations hijacked by their chairs ringing in my ears, but you always encouraged me to discover and tell “my story.” Through this process, your support, encouragement, and guidance have been an immeasurable blessing. When I began, you were my professor and advisor, but you have become my mentor and my friend. Thank you for everything. I would also like to acknowledge the rest of my committee: Drs. Jonathan Glixon, Diana Hallman, Kevin Holm-Hudson, and Dwight Billings. You each challenged me and pushed me to create a solid piece of scholarship. As someone who has been a fan of this music since I was a teenager, it is sometimes difficult to be objective and think about it from a “neutral” position. Drs. Glixon and Hallman, I thank you for helping me not only to do that, but also to see it from the perspective of “the outsider.” Dr. Holm-Hudson, I thank you for helping me to discover how to think theoretically about rock music and to connect this body of music to the overall rock genre. As you are “Dr. Pop,” your insight and guidance was particularly valuable. Dr. Billings, I am thankful for your contributions as someone outside the academic world of music. My respect and admiration for you grew with each interaction. I wish you the best as you complete your transition into retirement. I would be remiss if I did not also acknowledge and send thanks to Drs. Lance Brunner, Kate Covington, and Michael iii Baker, who served on my committee in a temporary capacity. I appreciate the insights and guidance you provided. A special “thank you” also goes out to the members of The Christian Metal Realm, The Heart of Metal, and Christian Hard Music message boards. Thank you for welcoming me into your ranks and indulging my questions, but thank you even more for your thoughtful answers to those questions. I want to thank my family for their love and support: To my mother and step-father, Kathy and Lester Newberry—Thank you for always believing in me and for teaching me that I can do anything I set my mind to. Thank you for raising me with a love for music, and for exposing me to so much wonderful music throughout my life. To my in-laws, Gary and Drema Reedy—Thank you for being in my corner and making me feel like you could not be any prouder of me if I was your own kid. To those who began this journey with me, but could not see it to the end: my father, Daniel Strother, my grandparents, Lew and Helen Kiger, and my grandmother-in- law, Wanda Whitt—Thank you for making me believe that you would have been proud of me right now. Finally, to my wife, Tammy, and our sons, Jacob and Andrew—You have been more a part of this than anyone else could be. You have supported me and encouraged me in big ways and small. You have stayed my hand when I was ready to throw in the towel. Tammy, you have always been my rock, even before I knew you were the other iv half of my heart. Thank you for never giving up on me and for never letting me give up on me. I feel like this should have your name on it too, because I never would have gotten here if not for you. Jacob and Andrew, so much of this was written with you playing beside me, climbing on me, and sleeping peacefully upstairs. You have brought so much more joy into my life than I ever imagined. “Dr. Daddy” loves you boys! S.D.G. v ACKNOWLEDGMENTS ..................................................................................... iii LIST OF FIGURES ............................................................................................... ix Chapter 1: Introduction ........................................................................................... 1 Methodology of the Study ................................................................................... 4 Text content ..................................................................................................... 4 Visual imagery................................................................................................. 5 Sound ............................................................................................................... 6 Musician as Missionary ..................................................................................