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Heavy Metal: Forces of Unification and Fragmentation within a Musical Subculture
Author(s): Bettina Roccor
Source: The World of Music, Vol. 42, No. 1, Gothic, Metal, Rap, and Rave - Youth Culture and
Its Educational Dimensions (2000), pp. 83-94
Published by: VWB - Verlag fr Wissenschaft und Bildung
Stable URL: http://www.jstor.org/stable/41699315
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theworld
42(1)- 2000:83-94
ofmusic

Heavy

Metal:

Forces

within a Musical

of Unification

and Fragmentation

Subculture

Bettina Roccor

Abstract
cultural
metalreachesbacktothe1960s.Anindependent
Thehistory
pracofheavy
the1980s,declining
in
itsheight
inthe1970sandexperienced
ticedeveloped
during
the
metal
scene
in
Gerthe
decade.
course
in
the
Today heavy
of following
popularity
a diversity
thatdeveloped
inwhich
cultural
isa multifaceted
landscape
ofstyles
many
Inspiteoftheir
sidebyside,moreorlesspeacefully.
decadescoexists
overthree
many
tobemembers
becauseall heavy
most
ofonefamily
fansfeelthemselves
differences,
thevaluessupporting
their
arebasedonthesamebasicmusical
metal
patterns,
styles
thesameandthemusic
's negative
haveremained
culture
imagehas
predominantly
thefansintheir
indignation.
unified
1.

Introduction

Thosewhowanttoapproachtheheavymetalscenewitha viewtowardsmusicaledthemselves
ucation,without
immediately
disqualifying
bythe(probablyfew)metal
musicaficionadospresentin the classroom,shouldbe aware of a few essential
sub-culture
things.Firstof all,theheavymetalsceneinvolvesa musicallycentered
in thesenseof a politicalsuperstructure
without
to which
ideologicalcommitments
feelthemselves
scenemembers
committed
2000,Roccor1996a,Roccor
(Stratmann
therumors
1996b,Mhlmann
1999).So youshouldforget
youhaveheardorreadup
tonowthatclaimthatheavymetalinvolvesa decidedlyright-wing
cultural
practice:
different
musical
rock)aretwocompletely
(right-wing
heavymetal^andRechtsrock
phenomena.The kernelofheavymetalis nota specialkindof ideologybutrather
else is subjectto themomentary
themusicofheavymetal.Everything
political,local, social and individualconditionswithinwhichthiskindof musicis made and
Thustherearea fewheavymetalbandsthatshowa decidedpoliticalatticonsumed.
tudein theirlyrics(mostlyrather
butwithintheblackmetalscene,some
left-wing,
fascistic).Butthequestionarises,to whatextentdo suchgroupsactuallyinfluence
theworldviewsoftheirconsumers?

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84 theworld
42(1)- 2000
ofmusic
Thisis indeedone ofthemostimportant
researchquestionsregarding
youthand
criticism
whatever
is presented
to them,or are
media:do consumers
acceptwithout
to
distance
themselves
and
to
a
a
differentiated
value sysin
develop
position
they
tem?Skin,thefemalesingerofthebandSkunkAnasie,doubtsthepersuading
potentialofsonglyrics:
noteventhepolitical
ofthe
musiccantransform
I don'tbelievethat
opinions
politics,
on life.Musiccanbe effective
peoplewholistento it.Musicis morecommentary
attitude
movement/mental
orina milieuas a
whenitis boundtoanalready
existing
etc.But
that
and
cultural
movement,
element,
reflecting strengthening
commenting,
whathas
it.Musicdescribes
there.
Musicdidn'tcreate
is already
themovement
then,
itlives,moves,
intheworld
inwhich
whathashappened
witha generation,
happened
ithastoface(Stratmann
andwhich
2000:30).
atall toforming
musicorlyricscontribute
Thequestionofwhether
opinionsrepthereare
In musichistory
resentsa worthwhile
generaltopicformusicinstruction.
of musicand theresulting
enoughexamplesof politicalmonopolization
certainly
ofRioneneedsonlythink
indealingwithworksofartandtheircreators;
difficulties
chardWagnerandhisroleduringtheperiodoftheNationalSocialists.We willreuse ofmusic.
motivated
turnlatertotheproblemofpolitically
2.

The Metal Fans: DeviantSatanists?

Themessageofheavymetalis- toemphasizethisagain- notmoreandnotlessthan


thediverseworldsofitsfans,
themusiccalledheavymetal.Andthismusicreflects
forthemostvariedreasons,tothisloudkind
ofpeoplewhofeelthemselves
attracted,
Ifyouask a fanwhyhe listensto heavymetal,the
ofrockmusicanditssymbolism.
firstansweris almostalways,"BecauseI likethemusic."One can onlymakestateforheavymetalifone has intenmentson thereasonsforthisinstinctive
sympathy
suchas thatitis factors
fans.
Trite
of
the
stories
the
life
with
dealt
assumptions
sively
to
whichlead consumers
like "comingfrombrokenfamilies"or "unemployment"
fans
are
too
The
of
the
situation.
the
surface
scratch
CDs
metal
for
only
heavy
grab
are thekindsof affinity
diversein general,and too different
theyfeeltowardsthe
roleofmusicshouldalwaysbe emphathecentral
metalscene.Butintheclassroom,
an adequateideaofheavymetalculture.
sizedinordertogivestudents
thathas grownoverthecourse
The heavymetalfanrefersto a musicaltradition
scenehas createdits
fromwhichmostof thecontemporary
of decades,a tradition
Thisfactusuallyremainsconcealedtocriticsoftheheavymetal
self-understanding.
ofheavymetalexclusivelyon thebasisofthe
thephenomena
scene:theyinterpret
in theformof images,signs,textsor
themusic,whether
accompanying
symbolism
A resultofthisis thenegativepublicimageoftheheavymetalscene,unbehavior.2
changedto thepresent.To putit simply,thisimagedeclarestheaverage"headand,
radical,sexist,violent,alcoholic,debilitated
banger"to be a latentright-wing
evenmore,satanically
asocial;all mustbe waryofhim(cf.Seifert1991,Der Spiegel

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Roccor.
HeavyMetal 85
Bravo 35/1990:52f).This imagecould onlydevelopbecauseheavy
2/1989:152f,
without
detailedknowledgeofitshistorical
metalhas beeninterpreted
development
such
have
andcurrent
Further,
stylistic
diversity.
interpretations onlypaid attention
ofloveforheavymetalshownbyfans:an exterior
thatseemsreto theexpressions
oftencliched,andbeyondall otherfashionable
trends(Rocbellious,provocative,
cor 1992).
3.

The KernelofMetal: Music

Therootsofheavymetallie inthe1960s,whenbandslikeBlackSabbath,Led Zepkindof rockcalled


pelinand Deep Purplemade populara loud and guitar-heavy
to theoftenpolitically
motivated
a counterweight
"hard"or "heavy"rock,forming
Roccor
Walser
1993
Khnemund
music"
1997,
1996a, 1996b,
(Herr1998,
"hippie
an
andWeinstein1991).Fromthese(commercially
quitesuccessful)beginnings, inthe
cultural
practicedevelopedduring 1970swithbandssuchas ThinLizdependent
in the
and Rainbow,whichreachedtheirheightof popularity
Rush
zy, Nazareth,
1980s.Actssuchas IronMaiden,JudasPriest,Metallica,Slayer,Saxon and Ozzy
founbothon themusicalas wellas behaviorallevel,thestylistic
Osbourneformed,
this
is
as
the
In
dationforthisdevelopmental
regarded
goldenage
phase. retrospect,
themselves
withthis
to as suchbythosewhoidentify
ofheavymetalandis referred
scene.
oftheentireheavymetalsceneina commontradition
Thisanchoring
(as is often
landobscure
the
fact
that
the
metal
should
not
to thepresent)
accentuated
heavy
fallen
a
subculture
to
has
into
itselfas uniform
outsiders,
new,
scape,whichpresents
betweentheseterritories
lie on
sincethemid-1980s.Differences
smallerterritories
andideologicallevels.In additiontothetypboththemusicalas wellas thestylistic
ical heavymetalofthelate 1970sandearly1980s,stylesdevelopedfromthemidmetal(fast,rawsinging,
1980ssuchas thrash
e.g.,Slayer);speedmetal(fast,technicallydifficult,
e.g., Metallica,Exciter);deathmetal(withouttheclassicalrefrain,
andblackmetal(stylistically
"notbeautiful"
variable,
singing,
e.g.,Death,Obituary)
satanistsymbolism,
e.g.,KingDiamond,MorbidAngel).Some styleshavegaineda
metal(musicalsmallerbutveryloyalbodyoffans,suchas progressive
numerically
ly complex,orientedtowardclassic music,e.g., BlindGuardian,DreamTheater),
CountRaven) and
whitemetal(Christianlyrics,musicallyvaried,e.g., Stryper,
St.
in theU.S.,
doommetal(slow,dragging,
e.g., Vitus,Candlemass).Particularly
Criie
and
such
as
Van
Halen
acts
metal
moderate
Ozzy Osbourne,
Motley
conquered
therecordchartsduringthe1980s.
In the1990sheavymetalopeneditselfup to neighboring
stylesandallowedeleand
hardcore
to
intoitsmusic.At the
flow
from
ments
techno,folk,gothic
grunge,
who
no
to thetypicalheavy
sametime,newlisteners
emerged
longercorresponded
to
a
contradiction
to
listen
first
Metallica
it
was
no
fan;
(a typicalmetalband)
longer
andthenMarusha(a popularTechno-Djane).Themarket
changed,whichledforex-

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86 theworld
42(1)- 2000
ofmusic
ofthescene,thejournalMetalHammer
, changing
representative
ampletotheformer
itsnameto simplyHammerin orderto drawyoungreaderswhowantedto listento
theworldwidesuccessof thebandMetallica
morethanjustmetal.In thiscontext,
forthescene.Whether
ina positiveornegativesense,thisband
washighlyimportant
discussionswithinthesceneas itbrokeawayfrommanyold tradistillstimulates
crisisamongmanyfans.
tionsandthusinciteda kindofidentity
scene
is
metal
the
popular,a stylethatcontainsintense
particularly
Today gothic
and
to
dramatics
is
tied
and
gloominesstypicalof thegothicstyle.Typical
guitars
include
bands
metal
Atrocity,
My DyingBrideandParadiseLost.Thisscene
gothic
oftheblackmetalmovement
intandemwiththesecondgeneration
formed
(fast,into
from
that
clusionof sacredmusicelements,
wheezing screeching
singing ranges
A so-called"truemetal"revivalalso tookplacedurEmperor).
(e.g.,DimmuBorgir,
ingthe1990swhenmanybandsharkedbacktoclassicalheavymetalandusedtypisuchas highvocalizmeans(as theverysuccessfulgroupHammerfall)
cal stylistic
visual
effectsand fantasy
"sword
&
sorcery"
rhythms,
ing,guitarsolos, straight
as
such
of
the
1980s
cult
bands
While
numerous
Destruction,
AgentSteeland
lyrics.
to tieintotheirearliersuccess,newbandsalso triedto gain
MetalChurchreunited
freshbuyersfortheirmusicundertheheading"newmetal."
bothmeloTodaythemetalsceneis highlydiversein musicalterms,including
addition
to the
attacks.
In
core
dramaticballadsas well as two-minute-long
grind
diwe
also
find
to
the
hidden
remain
that
differences
musical
outsider,
mostly
purely
defan
the
numerous
distinctions
verseregionalpeculiarities.
Further,
groups
among
HereI do notonly
and evenbetweenfriends.
lifesituations
velopoutof different
countries
oforthatpigeonholecertainbandstotheirrespective
meanthecategories
of
the
so-called
as
the
success
U.S.
alone
to
the
little
as
metal
U.S.
belongs
igin(for
"NeueDeutscheHrte"
has beenlimited
(lit.,newGermanhard)groupRammstein
&
1997
1998andMhl&
Jeske
Mader
to Germany
1995,
(Jeske1996/1997/1999,
themusicand
of
of
instrumentalization
are
issues
considered
to
be
mann1999).Also
this
thataccompanies process.
thesymbolism
4.

ofMetal Fans
The Fragmentation

oneselfa fanofheavymetalorof
tothesocio-cultural
context,
declaring
According
The bestexamon
different
can
take
this
from
band
a particular
meanings.
spectrum
becauseof its
scene
within
the
controversial
is
which
the
band
is
this
of
Slayer,
ple
but
also
interviews
in
made
have
statements
the
and
highlypopularbethey
lyrics
fora
different
cause of itsmusic.The band'ssongsholda completely
significance
than
East
the
former
from
radicals
male
of
Germany fora
group right-wing teenage
fanfromthewhite
metal
a
Brazilian
or
students
Korean
North
of
intellectual
clique
theoriginalintenmiddleclass. It is thecontextwhichis decisive,notnecessarily
skull
tionsofthebanditself.Thusthefanclublogo ofthegroupSlayer,a grinning
the
words
with
and
decorates
fireman's
a
T-shirts,
helmet,
pins
patches
wearing

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Roccor.
HeavyMetal 87
"
fans
aboveit,"SlatanicWehrmacht
("Slatanic"Germanarmedforces).Right-wing
of
the
those
from
the
declaration
for
Nazi
while
as
a
this
sympathy
period,
interpret
a
take
this
motive
to
be
skillful
of
the
intellectual
provocation
spectrum
left-wing,
to
its
memories
of
the
Nazis.
Nazi
skinheads
listen
that
bourgeoissociety suppresses
North
Korean
students
discuss
to
attack
while
them
to
stimulate
foreigners,
Slayer
andpoliticaltopicstothesoundsoftheband.Brazilianfansregardthe
philosophical
as a spiritual
relativeto the"alternagroup,withitstwoSouthAmericanmembers,
successfulthrashmetalbandfrom
tive"nationalheroesof Sepultura,a extremely
Rio.
ininifnottosaycompletely
naive,statements
Slayeritselfhasmadesuperficial,
on politicaltopics,andtheyknowaboutas muchaboutNationalSocialism
terviews
thebandfrom
on a singlesheetofpaper.Butthisdidnotprevent
as couldbe written
doctor
Josef
concentration
about
the
a
Mengele."AngelofDeath"
camp
writingsong
in
a
acts
of
list
of
his
the
down
cruelty choppycascadeofwords,
unimaginable
goes
a
on
them.
As
or
without
prank,theyouthradiostationofthe
judging commenting
readon theairas thoughitwere
this
text
once
had
BavarianBroadcasting
Company
in thisway,it created
Benn.
Presented
Gottfried
well-known
a poem by the
poet
as
when
as
fans
non-metal
well,just
Slayerplaysthesongin
goosepimplesamong
liveconcerts.
a formof art,
The exampleof Slayershowsthatheavymetalalso represents
the
each
fan
whichis thusinterpretable;
imagesandlyricsof
interprets statements,
in whatkindof
all
interested
not
at
is
the
But
thebanddifferently.
largemajority
of
Death."
in
the
for
is beingmade, example,
statement
Theylikethe
song"Angel
ofthelyrics.
about
the
contents
care
less
could
vocal
style;they
song,themusic,the
ask
when
metal
irritated
are
fans
Thisis onereasonwhymany
journalists uncomfortor SlayerandtheinSteele
like
Peter
musicians
controversial
about
able questions
and
the
music
find
oftheirsonglyrics.They
tentions
theydon'twanttoknow
good,
the
metalscenecanbe dethat
the
statement
meant
by
anymore.Thisis whatis also
is
and
themeaningsof lyrics
scribedas nonpolitical:
images of lesserimportance
is theoppoIn
rock,thesituation
comparedto a song'smusicalqualities. right-wing
music
formsonly
the
and verysimple,punk-like
site:thelyricsareintheforeground
totheshoutedNazi slogans.
an acousticbackground
ofheavymetaltypes,as wellas thesocialdifferencIn viewofthemanyvarieties
thequestion
relatedto class, gender,age or ethnicity,
es amongits fans,whether
itself
as
a
still
culture
singleculture.
perceives
emergesas to whytheheavymetal
unbroken
outside
world
with
itself
to
the
The scenecontinuously
prideas a
presents
see
outside
can
little
from
the
it
those
unifiedentity,
commonality
viewing
although
fans,or betweentraditional
between,say,thegothicmetalscene and progressive
as wellas intheirbehaviorand
"metals"andblackmetalfans.Bothintheirclothing
andmakeclear
differences
clear
fans
musicalpractices, display
amongthemselves
and
their
clienteles.
with
borders
to
set
substyles
neighboring
up
attempts
Each typeofheavymetalhas developeditsownsystemofsignsmadeofmusic,
theblack,
andbehavior.In theblackmetalscene,forinstance,
clothing
symbolism,

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88 theworld
42(1)- 2000
ofmusic
in theearly1980sby groupslikeJudasPriest,
studdedleatherclothingintroduced
of blackmetal;
Fate or Motrheadwas revivedduringtheradicalization
Mercyful
relatedsubcultures.
weremodifiedby addingaccessoriesfromthematically
outfits
blacklederhose,
includesthreateningly
Theblackmetaloutfit
long,spikedbracelets,
black-and-white
and
bizarre
boots
black
makeup.
tied-up
heavy
capes,
vampire-like
macesandoutsizedswordscompletetheimMartialartsweaponslikebattle-axes,
The masqueradeof"merciless"represents
ofdarkness.
knight
age ofthedangerous
to themusic.The lattershouldbe moreradicalandrelentless
an opticalcounterpart
whether
thathadpreviously
thananything
heavymetalfans.All elements,
delighted
ofthemusiciansorthestageshows,fitintothesign
theself-presentation
inthelyrics,
bythemusic,withitshighsystemof"blackmetal."Thissystemis also supported
sometimes
overboard
sometimes
its
and
of
riffs
storms
double
hysterics,
bass,
speed
on theorand
chords
choruses
dramatic
is
which
by
accompanied
choppysinging,
but
to
the
themselves
orient
music
this
love
musicians,
who
fans
The
optically
gan.
horror
the
rebellious
of
version
street
moderate
a
more
themselves
for
choose
usually
outfits.
ofthemetalfan,is
theuniform
In case ofdoubt,wearinglonghairanda fanshirt,
to
the
metalscene.Deas
a
to
outsiders
all
for
belonging
recognize person
enough
fora particular
tailstellinsiderstheperson'spreferences
heavystyle,suchas the
accessoriesthatareworn.Forexamplea crossworn
shirtmotiveandtheparticular
fortheperson's
bandlogo is an indication
a
with
alienating
strongly
upside-down
decideshow
for
need
the
individual
Otherwise
metal.
black
for
expression
passion
A fancould
musicians.
the
from
over
taken
are
elements
additional
clothing
many
or pentacross
silver
arts-related
martial
wear
to
decide
jewelry(theupside-down
outside
do
without
can
make
or
else
or
or
studs
signsof
any
chains) makeupgram,
of the
to
concerts
and
CDs
metal
black
and
scene
the
to
go
simplybuy
belonging
bands.
to theradicalblackmetalscene(whichis at themoment
In contrast
particularly
scenehastakenupthe
thetraditionalists'
fansinGermany),
popularamongyounger
fightforthegoodold "truemetal."Thisscene,whichis also quiteactivenow,prodeathandblack
Forthetraditionalists,
infanzines.
claimsitsconvictions
particularly
andblack
death
Their
metal.
to
even
do
not
metal
against
arguments
belong heavy
commerfor
the
lust
to
the
music
of
the
from
extend
dilettantish)
metal
(too
quality
of
tastein
boundaries
all
to
cross
are
said
which
to
the
at
success
cial
lyrics,
anycost,
thatof
like
wears
traditionalist
This
sales.
to
increase
exactly
order
clothing
group
monk's
of
a
kind
and
shirts
band
1980s:
of
the
sneakers,
fans
the
jeans,
tight-fitting
bandshavebeensewn.Thisouthabit,onwhichpatcheswiththenamesofparticular
a
metal
am
"I
fitproclaims,
(lit.,originalrock,or an original,loyalfan)
Urgestein
andI'm notashamedofit."This"truemetal"factionseestoitthatthebandsfromthe
of
(caretakers
1970sand 80s arenotforgotten;
theyplaytheroleofHeimatpfleger
who
folk
with
connection
in
used
word
culture),
a
up
dig
traditional
customs,
usually
andrevivethe"old songrepertoire."

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Roccor.
HeavyMetal 89
withintheheavymetalsceneis onefactorthathasmarkeditsdeTrenchwarfare
between"black"and "white"communities,
betweensoftrock
whether
velopment,
fans.Furtheranddeathmetalfans,or betweenpoliticallyactiveand disinterested
fanculturehas experienced
a diluting
more,sincethelate 1980smetal-typical
prowholistentonotonlyheavymetal
cessduetothesteadilygrowing
groupoflisteners
andrelated
butalso formerly
"enemymusics"suchas hiphop,techno,independent
held
at
the
end
of
the
20th
metal
musical
events
Thus
mass
century
heavy
substyles.
a colorfulmixture
ofmusisuchas theopenairconcert"Rockam Ring"presented
different
musicaltypes.Ten yearsago, itwouldhavebeenunciansof completely
tothis,individononestage.In reaction
forsuchgroupstoappeartogether
thinkable
own
bands
their
eventsthatpresent
ual scenesareestablishing
(e.g.,the
exclusively
WackenOpenAirortheDynamoOpenAirin Eindhovenformetalfans;theZilloinLeipzigfortheblackscene).Whatis puton disFestivalorGothicAVave-Treffen
on a musical,opticalorbehavioral
whether
is
the
such
events
at
"puredoctrine,"
play
forthewavertheskillful
a
chaotic
mud
fan
the
metal
is
for
This
level.
presenfight,
the
metal
scene
self.
of
the
tation
Still,
fights
againstinconsistencies
styled
perfectly
ofthemarketandtheno longerexistentseparation
fromthelimitlessness
resulting
and
betweenmainstream underground
(at leaston thepartofthemusicindustry).
5.

ForcesofUnification

to represent
itselfto theoutsideworld
As mentioned
earlier,heavymetalcontinues
a systemin whichthesamelaws applyas twenty
as a closedculturalsystem,
years
seemsto be a
of thisproudlyproclaimedself-understanding
ago. The foundation
fromotherstyles.By
consensuson whatmakesheavymetalindependent
continuing
forexample,
ofmagazinesandfanzines,
thereadership
meansofdiversestrategies,
thespiritofheavymetthatis supposedtomaintain
sweartoa commondenominator
three
boundaries.
In myopinionthereareinparticular
al overandaboveall stylistic
suchfactorsthatallegedlyensurethatheavymetalremains"a beastthatrefusesto
die:"4
Firmtiesto a commonmusicaltradition.
Recognition
offundamental
heavymetalvalues.
Negativeevaluationbyoutsiders.
withthese
As soonas a newstyle(orthereactiontoit)coincidesatleastpartially
intotheheavymetalcultureas a whole.Beforethis
itcanbe integrated
threefactors,
mayalso emerge,duringwhichmuchdiscushappens,a certainphaseofuncertainty
conflicts
takeplace.Generational
sionandpolemicizing
playan essentialroleinthis
a
first
in
waythatrejectsthatwhich
process.The olderfansusuallyreact
integration
because
oftenthenewstylequesis producedandfavoredbytheyounger
generation
of
new
andproduces ways measuring
tradition
tionstheexisting
musical,lyricaland
is
the
whichinof
this
A
behavioralprovocation. goodexample
groupDeathmetal,
as
Their
music
contained
as
well
enthusiasm.
both
wheezing
indignation
stigated

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90

theworld
42(1) -2000
ofmusic

a stormofriffs
insteadofguitarsolos,and
voicesinsteadofhigh,clearvocalization,
oftherock'n rolllifestyle.
In the
morbidlyricsinsteadofhymnstothepeacefulness
acknowlthemanycriticsfromtheheavymetalscenehadtogrudgingly
end,though,
morethan
of metalfansand musiciansare doingnothing
edge thatthisgeneration
is
had donefiveor tenyearsearlier.The younger
whattheythemselves
generation
have
not
been
them
that
the
extremes
and
the
"old
yet
showing
guys"
shocking
was fiDeathmetal
Evenifunderprotest,
oftheimagination.
reachedbyanystretch
The
new
next
new
was
until
the
there
and
style
style
emerged.
peace
nallyaccepted,
someendlesslyandmadeothersshake
thatcauseda stir-meaningthatitdelighted
theirheadswithhorror-wastheradicalstyleofblackmetal.In thisway,thecultural
broadenedanew withouthavingto
of heavymetalhas beencontinually
spectrum
rebelliousbandsalso emthe
existed.
which
that
all,
(After
younger,
already
giveup
fromtheirpredehave
received
and
the
influence
they
inspiration
phasizerepeatedly
to
contrast
forms
a
thus
the
subscenes
of
The
only superficial
cessors.) independence
the
that
musical
whole.
The
as
a
the
culture
of
foundation,
is,
thepropagated
unity
collectiveheroesand themusicalheritage,
respectbothfrom
enjoysuninterrupted
ties
betweenthem.
creates
and
this
fan
as
the
older
as
well
theyounger
generations,
hasappeared
new
or
that
has
the
scene
provocative
majorproblem nothing
Todaythe
and
themselves
are
a
while.
Musicians
for
stewingin
on thehorizon quite
quoting
metal.
end
of
the
fans
to
causes
which
theirownjuices,
heavy
predict
many
tothe"we feeling"
whatcontributes
In spiteofall theirdifferences,
considerably
of
the
outsiders
ofthesceneis thenegativeperception
heavymetalculture.
among
not
numerous
of
is
a
scene
clichs,
Theheavymetal
onlyfortheignoconglomerate
or
who
for
but
also
rantamateur
philosophical
manyprofessionals give scholarly,
a
monk's
The
metal.
on
figurewearing
long-haired
commentary heavy
journalistic
masseswho
cattle-like
disoriented
habithas becomea symbolforthedull,ethically
of
means
loud,
of
their
brainless,mercilessly
can onlybe shakenout
by
lethargy
that
somethe
fact
contents.
of
kind
musicwithout
Simply
meaningful
any
stamping
one "belongs"to a certainmusicalgenrebecomesevidencefora wholestringof
tothatdeclaredfan.The reactiontothisnegativelathatareattached
characteristics
as wellas
justifiedindignation,
belingis on theone handa collective,more-or-less
who
are
of
"we
the
that
ofa "we feeling"theemergence
is, perception
unjustifiably
hasbeendriventonewheights
consciousness"
This"martyr
attacked."
bythegroup
victim
attacked
as
an
its
strained
Die BhsenOnkelz.Thisgroup
unjustifiably
image
the
as
contested
never
skinheads,
to
the
Due
ofthemediato thelimit.
past
group's
atof
the
series
for
some
of
anti-foreigner
mediaaccusedthem having
responsibility
to
set
fire
who
the
arsonists
Some
of
1990s.
the
tacksmadeinGermany
during early
1980s
in
the
and
worn
Onkelz
had
lived
shirts,
early
houseswhereasylum-seekers
withthetitle"TrkenRaus" (TurksGo Home)
thebandhad a songin itsrepertoire
On thebasisofthesefacts,thepressconcluded
never
however
whichwas
published.
radiofgrowing
was
an
Onkelz
right-wing
thatDie Bhsen
ideologicalpredecessor
radical
the
itself
from
distanced
the
band
Even
right-wing
calism.
repeatedly
though
festivals,
manymedia
scene,and even organized"Rock AgainsttheRight-wing"

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Roccor.
HeavyMetal 91
over the unjustified
insistedon thisview. Indignation
treatment
representatives
its
which
is
atleast
band
and
Onkelz
fans
can
count
on
the
fans,
why
together
brought
withthetheme"We arethescapegoatsofthenaone songon each newrecording
tion."
borders
is thecomfansbeyondstylistic
As thisexampleshows,binding
together
monknowledgethatmanyoftheheavymetalclichsarebasedon a too literalperceptionofthesceneandthatthismusicactuallysaysmuchmorethatis sociallyreleonhowto
overindividual
assumed.Disagreements
vantthanis commonly
strategies
Whilesome
effect.
deal withattacksfromtheoutsidedo howeverhavea separating
anddialogue,othersdrawbackintostillstronger
towardclarification
makeefforts
thrown
downbycriticswithreThe latterpickupthegauntlet
formsofprovocation.
these
with
stillcrasserclichs
answer
and
motivations
or
ligious youth-protection
to all thesignalsthatserveart.Someevenresorttoviolence,as
thathelpthemselves
wentso faras tosetfireto
intheradicalblackmetalsceneinNorway,wherefanatics
bands(Roccor1992,Billerbeck
andtocarryoutbrutalattackson Christian
churches
1994andKrull1993).
& Nordhausen
a
rockbutrather
is not,as so oftenasserted,
metal
simplyloud,primitive
Heavy
fans
that
the
for
values
towards
attitude
a
for
stands
that
of
music
form
life,
particular
miss in theirnormaleverydayworldand whichtheynotrarelyfindin themetal
usedby
thatarerepeatedly
catchwords
scene.I repeathereonlythemostimportant
fansandmusicians:authenticity,
cohesion,community
feeling,
solidarity,
honesty,
without
without
theplaintruth
directness,
adornment,
honesty,
compromise,
loyalty,
forthescene are: salability,
Absolutecounter-values
beingdifferent.
provocation,
One ofthe
egomania,posing,censorship.
playingup to norms,commercialization,
to
freedom:
freedom
that
of
is
scene
of
the
metal
centralconcepts
say whatone
morof
without
as
one
to
look
what
one
wants,
wants,
regard reigning
wants,tothink
of
admiration
are
the
who
the
musicians
als. For thisreason,
enjoy highestdegree
of
the
least
life
with
of
thosewhopracticea heavymetalstyle
degree compromise.
These are musicianswho have themselvestattooedovertheirentirebodies,who
towearthesameclothesdayinandday
growtheirhairdowntotheirhips,whoprefer
trueto thedeepermeaningof heavymetalin
outand whoremainunconditionally
To do yourown
of newertrendsor sales figures.
theirmusicandlyrics,regardless
theidealofthemetslideoffyou:thisrepresents
thingandtoletall kindsofcriticism
al scene- an ideal,itshouldbe noted,thatstandsdiametrically
opposedtotheactual
livesofmostfans.
6.

Conclusion

first
For thosewho wantto approachtheheavymetalscene,I wouldrecommend
the
of
from
inmind(speaking
manyyears experience): largest
bearingthefollowing
clichinone's ownhead.Onemustlearntoperceivetheperson
is theexisting
barrier
his or herappearance
behindthebloodthirsty
lookingT-shirtand to comprehend

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92 theworld
42(1)- 2000
ofmusic
ofbeinga fan,without
rashinterpretations
aboutthepossisimplyas an expression
is
that
the
fan
is
ble conceptualcontent.
the
Important
always expert.Secondly,the
shouldatleastattempt
togetusedtothemusic,foriftheyhavenoknowlresearchers
edgeofthemusic,theywillbe ableto findoutlittleaboutitsfans.Third,investigaforthefinedifferences
areprecisely
torsshouldabstainfromrashcategorizations,
tothemetalfan.A finalwordofadvice:nevermakethemistakeof
whatis important
describing
heavymetalas "noise"- orBon Jovias a heavymetalgroup.Thatwould
meanthecertainendofanykindofconversation.
Notes
towards
metal
hasthetendency
hasbeenmadethat
radicalism,
1 Theassertion
right-wing
heavy
in
ofthisviewcanbefound
criticism
inLenz1989andDerSpiegel
forexample
44/1998:304;
there
are
that
1995.Thisdoesnotmean
1990andMatthesius
& Mhlberg
1992,Stock
Helsper
Thesedoexist,
orientation.
a radical
metal
fanswith
noheavy
justas theusually
right-wing
scenes.See Farin& Seidel-Pielen
skinhead
andleftoverlooked
wing-oriented
nonpolitical
1995.
1994andFunk-Hennigs
Seethelitmetal.
inheavy
oroccult
intheuseofsatanic
2 Thisholdstrue
symbols
particularly
1992.
1984andGlogauer
suchasBanol1987,Bumer
ofChristian
onopponents
erature
rock,
1996aand1996b.
seeRoccor
ofheavy
3 Onthestyles
metal,
1991:11.
ofDeenaWeinstein
4 A formulation
1997.
seeHartsch
ofDieBhsen
5 Onthedetailed
Onkelz,
history
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Fernando
Banol,
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