Search

metal stuff

It's stuff, about metal

Tag

metal

Metalheads Had Social Networking Before the Internet

In 2016, the internet has become such an integral part of global culture that it’s hard to imagine what life would be like without it. Social media, in particular, takes advantage of this massive global connection by helping people to communicate across the globe in real-time.But, strange as it seems, there was a time before the internet. People still communicated, albeit a lot more slowly.

So, how does this relate to metal culture? To understand how, first we should take a look at why metalheads would need to create a social network. In the 80’s and 90’s, heavy metal and it’s fans had a HUGE stigma attached to them (in some parts of the world, this stigma still exists). There was a large scale moral panic surrounding the music and it’s culture.

In the United States, for example, there was a growing wave of misinformation, political correctness, and organized opposition that threatened the very existence of metal. Police were trained to target metalheads based on the stereotypes propagated by the PC groups like the PMRC. Here are a few examples from a police training pamphlet called “Youth Subcultures”

heavy metalistsblack metalistspunksstoners

 

By themselves, these images are humorous at best. But the descriptions accompanying the photos labeled all metal fans (and punks, the picture with the mohawk was sadly missing the label) as lowlifes with no motivation to do anything constructive, who’s only source of income was from theft and drug sales (also mentioning that most metalheads were avid drug users themselves).

Combined with metal being completely ignored by the music industry,  disrespected by the media, metal shirts being banned from schools, young fans of the music being sent to counselors and camps for “de-metalizing”, and metal bands being put on public trial as scapegoats for youth tragedy – you’ve got a culture who’s very existence requires it to go “underground”.

And if you can’t find music you want in the normal media channels, where do you go? Simply put, you go to other fans of the music. But metal fans were few and far between – and spread all over the globe. There was no internet, no media, nothing – how did people find new metal that wasn’t a polished, formulaic mainstream parody of real music?

The answer, of course, was tape trading. Metal magazines were essentially the lifeblood of the culture. And the classified ads in these magazines allowed someone to advertise that they had new music for distribution, or to advertise their tastes. All you had to do was put in an ad with an example of a band you liked (and your mailing address), stating you were looking for more bands like them, and wait. People would send you music, mostly free of charge, that was in the same vein. Essentially it was a pen-pals with benefits sort of thing, and it completely cut the record industry out of the picture.

This is where the sub-genrefication of metal started, it was necessary to get people the music they wanted. This was also the time where the unwritten rules of metal started to solidify. These things are all manifestation of “sub-cultural space”, it’s how metalheads communicate aspects of metal culture to one another. It’s also when the metal “uniform” really came together and became a thing. The most important part of the uniform (wearing shirts of the bands you listen to) was a way to show solidarity with the culture, support for the bands (because they still get more from t-shirt sales than they ever did from albums), and personal musical taste to other people in the culture.

Fun fact – with the industry out of the picture metal was free to evolve without corporate influence. If it wasn’t for widespread persecution of metalheads (forcing them to go underground as a culture), you wouldn’t have Thrash, Death Metal, Grindcore, Hardcore Punk, Black Metal, or any of the extreme branches of the metal family tree that exist today.

In other words – this is when heavy metal completely broke off from rock and roll and became a distinct musical style with it’s own unique culture. Just like rock and roll broke off from the blues, metal severed it’s ties to rock music.

So, when you see an article bitching about how downloading music is killing the record industry – take it with a grain of salt. It’s killing the pop-machine entertainment industry for sure, but if you’re paying attention and capable of rational thought you can see even that claim is 100% bullshit. But as far as metal bands are concerned – sure, they’re seeing a drop in record sales. But record labels were pretty famous for signing metal bands to horrible long term contracts that gave away a lot of legal rights and fucked them over creatively for years. So they’re probably going to have to adopt a business model from heavy metal musicians, largely based on touring and merch sales. Soooo… the bands treated like dogshit by the major labels are now going to be their saving grace. Ironic much?

But I digress.

The outsider/taboo status assigned to metal by (and in) mainstream culture is what turned it into the cultural behemoth (pun intended) that it is today. File-sharing and social networking in the metal community is something that was happening for a full decade before the internet even existed. The transition to social networking and file-sharing websites was a natural one, metalheads simply digitized aspects of the culture that were already there.

That’s why metalheads still shit on Metallica on a regular basis. A shitty album or two can be overlooked – nobody bats 1000. But when you go after an evolutionary step of the very cultural mechanism that made you into what you are today (tape trading->file sharing, if you’re not following), you’re selling out completely. They sided with the same corporate entities that wouldn’t have given them the time of day a decade earlier.

Anyways – the only thing metalheads like more than metal is reading about how great metalheads are. So, there’s that. Enjoy.

Oh, if you liked this please feel free to join my facebook group metal stuff.

 

The Two Faces of Metal

I was talking with my friend Raven from “The Vault of Metal” the other day about an interview with Chester Bennington from Linkin Park, in which he stated, “In my opinion, we actually kept metal alive.”

Now Raven (who isn’t alone in this opinion) contends that the “metal” as represented by bands like Linkin Park, Disturbed, Five Finger Death Punch, Slipknot, and the like isn’t even metal. There are elements of this statement that I sort of agree with, but I have to respectfully disagree with the overall statement.

The reason I disagree is because I think there’s a more accurate way to look at the situation. Metal has two faces, a public (or mainstream) face and a private (or underground) face. This isn’t some new or revolutionary observation – it’s an argument that’s been going on since the genre fractured. It’s been covered by every single major metal sociologist; Deena Weinsteen (Heavy Metal: The Music and Its Culture and Heavy Metal: A Cultural Sociology), Robert Walser (Running With the Devil: Power, Gender, and Madness in Heavy Metal Music), Ian Christe (Sound of the Beast: The Complete Headbanging History of Heavy Metal), Malcolm Dome (The bible of Heavy Metal: Encyclopaedia Metallica, Thrash Metal), Keith Kahn-Harris (Extreme Metal: Music and Culture on the Edge), Sam Dunn (Metal: A Headbanger’s journey, Global Metal, Metal Evolution, Banger Films) in some form or another.

The reason that metal culture as a whole can have these opposing factions is because it isn’t a single, unified culture. It’s what’s commonly referred to as a bricolage culture – a hodgepodge collection of distinct groups and scenes with a unifying theme (metal) that form a complete culture.

For the purpose of this article, metal can be viewed like this;
twofaces

Both sides have their positive and negative aspects. An underground band has the ability to gain a significant amount of credibility within the scene, at the expense of a smaller fanbase. A mainstream band has the monetary advantage, as mainstream viability means you’re reaching a broader audience. However, the price of mainstream popularity comes at the expense of a band’s credibility within the broader metal scene. And in metal, credibility is everything.

Bands are not stuck in a single category, movement between these areas is fluid – but with a catch. They can only move in one direction. A mainstream band cannot under any circumstances move back to the underground. An underground band, however, has the ability at pretty much any point in time to move to the mainstream. There’s even a (often overused) term for when a band moves into mainstream territory – selling out.

To become popular, most underground bands tend to try and stay in the grey area between mainstream and underground – maximizing the size of their audience while sacrificing as little credibility as possible.

So, it’s not really a dichotomy. It’s more of a “collage spectrum” that’s defined by the polar extremes.

Cultural fracture point – when metal gained two identities

When metal actually fractured into these two distinct categories (mainstream and underground) is up for debate. The divide became recognizable when Thrash (underground) and Glam (mainstream) arose as two distinct entities in the 80’s. That’s when we got terms like “lite metal“, which were used by members of the underground community to refer to their mainstream counterparts.

Arguably, the divide between mainstream and underground metal goes back another generation. When Def Leppard refused to be associated with/included in the NWOBHM, band members stated it was because they wanted their band to be associated with the greater “hard rock” category (as opposed to the niche underground genre that NWOBHM was at the time). And if you look at the first wave of mainstream metal (Glam), you can clearly see it’s roots in the styles of both Def Leppard and Led Zeppelin.

I think it’s worth mentioning that bands that existed within the cultural sphere of heavy metal before the mainstream/underground fracture are immune to this classification. It was created to differentiate the new bands, and any attempt to use them as anything else would be inaccurate.

Metal in the Mainstream

mainstreamallica fan

 

It all started with Hair Metal/Glam in the 80’s, which combined metal with popular hard rock from the time period. And as with anything mainstream, hair metal was beholden to corporate influence. So when the music industry had completely exhausted the genre (through formulaic “clone” bands and over-promotion), they moved on to “the next big thing” and declared metal dead. So, in the eyes of mainstream culture – metal had died. And in it’s place was a new mainstream genre – Grunge.

Grunge was effectively the anti-thesis of hair metal. It’s combination of metal and alternative rock pushed apathy and mediocrity as a counterpoint to hair metal’s excitement and over the top excess.

In fact, the only thing I can think of that Glam and Grunge have in common is the incredible amount of heroin band members from both genres consumed. Which, in it’s own way, helped define their shelf lives. I guess every cloud has a silver lining.

Then in the mid 90’s a new mainstream contender entered the arena – Nu Metal. Combining rap with elements of alt-rock/grunge and heavy, down tuned riff oriented metal on (typically) seven string guitars. While musically much more aggressive and exciting than it’s predecessor, it remained a relatively simple and easily digestible form of metal that was fit for mass consumption and easily duplicated by the record industry.

The mid 2000’s saw the fall of Nu Metal and the rise of Metalcore. Taking the already established hardcore/metal fusion that had been mixing with the Gothenburg brand of Melodic Death Metal (and adding the signature whiney Emo vocals), metalcore took the mainstream by storm.

Nowadays, as metalcore is waning in popularity, bands like Periphery and Liturgy are crossing one of underground metal’s more extreme sub-genres (Black Metal) and mixing it with apathetic, “self absorbed posing as introspective” hipster Indie rock genres like Shoegaze  to create the musical abomination known as blackgaze. Combined with the large number of bands aping djent and mixing it with mainstream influences, it’s only a matter of time until we see the next big trend in popular metal.

I’m not sure where the fuck Five Finger Death Punch fits into all this, probably the fact that they mixed the groove metal of Pantera with mainstream hard rock. However you want to categorize them, calling them anything other than mainstream metal is a disservice to the intelligence of both the speaker and the listener.

Metal in the Underground

death-metal-bands
(This is where the magic happens)

Recently Thrash, Death, and Black metal have all been encompassed into an overarching umbrella term – Extreme metal. A fair description, as they all tend towards extremity. I like the term, and it puts all the bands in a proper context – all extreme metal is in some way shape or form a derivative of the thrash metal movement of the 80’s, although bands such as Celtic Frost, Bathory, and Venom (generally dubbed the “first wave” of black metal) also serve as the genre’s precursors. I’m pretty sure Keith Kahn-Harris does a better job explaining it all in his book. Also, Sam Dunn did an excellent crowdfunded “lost episode” of his series Metal: Evolution dealing with the subject.

Exceptions

While metal has been, since it’s inception, a predominantly underground phenomenon, when referring to “underground metal” people are generally talking about thrash and it’s derivatives. Like I mentioned earlier, this split happened after bands like Sabbath or Maiden hit the radar, so while they would fit the mold for underground metal – they also (by standing the test of time) fit into the mainstream metal category. They’re neither and they’re both.

It is interesting to note that in the vein of these classic bands, metal in the underground follows a generational musical progression that’s the only consistent pattern in heavy metal since it’s inception – the new stuff is always heavier. It’s harder, it’s faster, it’s more distorted, and it’s progressively more socially transgressive. Sam Dunn touched on this in his first movie, Headbanger’s Journey – new generations of bands continue to strive to sound heavier than the generation before them.

Conclusions

In context, Raven’s assertion that the “mainstream” metal bands aren’t metal at all is technically true. In every incarnation, the thing mainstream metal bands all have in common is that they dilute heavy metal by mixing it with a more “palatable” style of music. With hair metal, it was diluted with hard rock (including rock ballads, ugh). Grunge watered the heaviness down with popular college alternative rock. Nu Metal did it with rap and alt rock. Metalcore did it with emo. And modern day hipster bands do it with Indie rock (Indie meaning hipster/millennial co-opted melancholy, boring, crap rock – not indie as in independent… there’s a huge independent streak in underground metal).

Saying these mainstream bands “aren’t real metal” isn’t (generally) meant as an insult, it’s an attempt to keep accuracy in the conversation. Metal is generally viewed as genealogical, so an example of that ilk might bring some clarity.

If you breed a horse and a donkey together – the resulting creature is called a mule. It’s not a horse, and it’s not a donkey. The two animals are closely related and branch from the same evolutionary family, but distinct enough to warrant a different name for each distinct species. A mule, the resulting offspring from the union of the species, cannot accurately be called a horse or a donkey because it is equal parts horse and donkey. However if the mule proves fertile (most often they’re not) and is bred with another horse, the resulting offspring will be categorized as a horse.

Substitute “metal” for “horse”, and “rock” for “donkey”, and you essentially have the entire argument against “mainstream metal” being considered part of the metal family tree (instead being relegated back an evolutionary step to the “hard rock” category). If any of the mainstream/popular genres spawn/influence new music by being crossed back with metal genres – the result is considered to be part of the metal tree.

I always figured this sort of knowledge was just a given, but apparently it’s not. the massive amount of butthurt expressed online by hipsters and others outside the metal community when they’re improper use of terminology is corrected just seems to be part of the social landscape.

This duality within the genre is also the source of endless frustration expressed in memes like this gem…

girlswholistentometal

Now, as someone who was a pretty big fan of Nu Metal, I might be a tad biased in my opinion. I prefer a touch of holism with my definition of metal – while I’m predominantly a fan of the underground/extreme branch of the metal family tree, I refuse to discount the importance of mainstream metal bands to the culture.

First and foremost, they represent the social gateway into greater metal culture. Nobody starts off listening to Extreme Metal, taste progression in metal is generally a process – and “Gateway Metal” bands generally kick-start the process. They also represent the metal community to the mainstream in other respects.

When the PMRC kickstarted congressional hearings on heavy metal in the 80’s, they completely neglected to mention underground bands. It was Dee Snider of Twisted Sister who went and spoke for the genre, and completely exposed the entire debacle for what it was – a modern day witch hunt. Slipknot and Marilyn Manson (as well as Ozzy, Preist, and Maiden – but if you’ve been reading they’re excluded from this classification as they encompass both mainstream and underground characteristics) were publicly scapegoated as the reason behind public controversies. From grave robberies to school shootings, as soon as heavy metal is found in the mix it’s automatically considered the cause.

So, these aren’t just the people who recruit new member to the metal cause, they’re the ones who defend it in the public eye. They also transmit the norms of metal culture to new recruits. Considering these critical roles mainstream metal bands play in the overall culture, I don’t believe it is accurate to call them anything other than metal.

This doesn’t mean I won’t call a spade a spade, mainstream metal is gimmicky as hell and has a lot of elements of mainstream culture I generally try to avoid. But you can like, or at very least appreciate, a band and the role they play in overall culture without dismissing them because they A) fill a different cultural niche than underground bands and B) don’t conform to a minimalist definition of metal.

Shameless plug, if you like what you read feel free to join my metal facebook group Metal Stuff.

Does Metal have unwritten rules?

Short answer – yes.

Well, sort of. More like communally agreed to conventions of behavior that have developed over decades. These aren’t ironclad rules (well, mosh-pit etiquette certainly is), there’s no police force that’s going to enforce it. These are things that metalheads recognize as common cultural norms, and choose to practice as a way to show solidarity within and to the culture.

The unwritten rules are codes of conduct to observe during a show/festival. And a lot of them are just common sense, and apply to any live show you go to. But some of them are pretty specific to metal, and if you don’t know them you might get a few funny looks when you go to a show.

This list has been a little while in the making. A big shout out to the members of Metalheads United Interactive, Metalhead Alliance, my own group Metal Stuff. And a big thanks to my buddy Raven at The Vault of Metal for getting the conversation going over a year ago, and then inviting me onto his radio show to discuss it on-air.

Rules for everyone; 

Shows-

  1. Wear black. At least a black shirt. And if you have the option, wear a band shirt. They’re generally black, and the reason this rule exists.
  2. Don’t wear a shirt from the band you’re going to see, including the concert shirt you just purchased. This is huge – and a lot of people seem confused about it when they first hear it. It’s a logical thing to assume that wearing this shows support for the band – but stop and think about it for a second. You already paid for a ticket, and are in the presence of a group of people who are doing the same. You obviously support the band. All this does is make you look like a fan boy/girl, and nobody likes a fan boy/girl. Don’t be “that guy.” Wait till after the show to throw on your concert shirt, or put it on underneath what you’re wearing if you don’t feel like holding on to it. (exceptions: if it’s Iron Maiden, Metallica, Slayer, or one of those legendary bands you’re fine wearing a shirt with their logo on it. Festivals are also an exception, sometimes it’s almost impossible to avoid wearing a shirt from every band on the bill). EDIT: This seems to be an American behavioral convention – and apparently doesn’t translate as much in other countries.
  3. Don’t wear a band shirt from one of the headliner’s previous bands. This one is a little less strict than the first two rules, and it’s more of a courtesy thing. You’re there to support what the artists are currently doing, not their previous accomplishments. Examples would include no Pantera shirts at a Down show (or a Hellyeah show), No The Agonist or Nevermore shirts at an Arch Enemy show, No Cannibal Corpse shirts at a 6 Feet Under show, etc.
  4. Don’t wear a band patch/shirt if you’re not familiar with the band. This is just a given, but this is a list of the unwritten rules so it makes the cut.
  5. Don’t expect to be in the same spot for the duration of the show. A crowd is a fluid thing, and chances are (especially at a metal show) people are going to be moving around a lot. This also means nobody is going to “save your spot” if you have to go take a piss, grab a beer, smoke a cig, etc. The only way to really guarantee you’re going to have the same spot for the duration of the show is to get there early and get one of the spots at the very front near the stage.
  6. Proper footwear is a good idea. Leather/steel toe boots aren’t really a fashion statement in metal, they’re just practical. Like I said before, the crowd is constantly moving. Chances are your feet are going to get stepped on. A lot. Steel toe/leather boots make the entire concert a lot more enjoyable.
  7. Wear clothing that lets you move around. You might notice a lot of dudes in looser jeans or cargo shorts – there’s a reason for that. If you end up moving around a lot (you probably will) or in the pit mobility is a very good thing. Call me crazy, but skinny jeans or sweatpants seem like they’d restrict your mobility. And after a few hours I’d imagine they get rather uncomfortable.
  8. As much as some people don’t like them, a wallet chain comes in awfully handy at shows. The risk of it getting caught on something is there, but I’d rather get caught for a second or two than lose my wallet in the pit. Mine’s served me well for over 16 years – I highly recommend them.
  9. If you’re wearing a lot of spikes and studs, be conscious of your surroundings. Yeah, they’re fucking cool. No, getting hit in the face with them isn’t cool. A lot of venues ban then because they’re considered weapons (bullshit), so if you have the privilege of wearing them by all means don’t ruin it for everyone else.
  10. Don’t sing along unless the lead singer asks the audience to do so (I’m guilty of this one, and from the look on the singer’s face I have a terrible singing voice).
  11. Don’t buy anything from the merch booth till after the show. Seriously, holding all that shit gets uncomfortable, and takes away for your ability to enjoy the show. It’s fine to scope it all out beforehand – that way when you actually get up there to buy something you already know what you’re getting and can make your purchase and get out of the way as soon as possible. The people running the booth and the people behind you will be thankful. If I’m getting something like an exclusive tour vinyl, I’ll purchase it beforehand and ask them if they can hold onto it until after the show – that way everyone wins. Also, tip the vendors.
  12. Do NOT buy a cheap knockoff shirt from the dude in the parking lot after the show. the price might be right, but you’re fucking the band over and you’ll look like a tool every time you wear the shirt. Don’t be “that guy.”

Ladies-

  1. Avoid wearing a dress. It’s a disaster waiting to happen at a metal show, especially if you’re trying to get up close to the stage. It’s not for any sexist reasons, it’s not to try and make women conform to male stereotypes, it’s just common sense. Because you’re going to be awfully uncomfortable if someone accidentally bumps into you and you do a “graceful” spread eagled face-plant. I would wager, in fact, it would be more uncomfortable than wearing pants.
  2. If a guy keeps bumping into you or trying to get you into the pit and you’re not keen on participating, keep an elbow up or a hand out and let him know vocally.
  3. Sometimes, due to the fact that the crowd is moving around, people will bump into you. But it’s pretty safe to say you’ll be able to tell the difference between someone accidentally brushing against you and someone groping/getting inappropriate. If a dude does something scummy, be very vocal about it.
  4. If vocalizing your dislike of certain behaviors doesn’t stop them from happening, rest assured that the dude standing next to you (in fact, pretty much all of them within range) will put a swift end to it. I’ve heard girls who have been into metal for years complain about scumbags at metal shows – you might be pleasantly surprised to find out just how little tolerance there is for this sort of behavior in the metal community.
  5. EDIT: I’ve had enough girls comment on this that I felt inclined to add another rule – no high heels under any circumstances.

In the pit –

  1. If someone falls down, pick them up immediately. This is the most important rule, no exceptions
  2. No hitting – it’s not a fight. Things happen, limbs flail – if you accidentally hit someone do a friendly gesture and apologize (flashing the horns and mouthing “sorry” over the music works). Chances are, they’ll forgive you. If not, step out for a bit and let them cool down.
  3. When you’re on the outside of a particularly violent pit, and you see someone trying unsuccessfully to get out, if you think you can handle it go and get them. They’ll appreciate it.
  4. If someone is seriously hurt, form a protective circle around them until help can get there. If necessary, send someone to speak to the nearest security guard – their job is the safety of the crowd, and they’ll know what to do.

In General –

  1. Know your shit. If you’re going to make a statement or talk in general about a band make sure you know what you’re talking about. This is another one of those things that should go without saying – there’s no shame in saying you’re not familiar with a band or album.
  2. Respect your elders. At the risk of sounding old – this is one that seems to get lost by the wayside with a lot of the newer influx of people into the metal crowd nowadays. Metal isn’t classified as a “youth subculture” because of the fact that metal doesn’t reject it’s elders. If you see some older dudes at a show, say hey or offer to buy them a fucking beer or something. Every single one of them has been a part of the scene and the culture for a long time. These are the dudes (and chics) who kept metal going through lawsuits, the satanic panic, congressional hearings, etc.
  3. Don’t bitch about metal culture. If you’re going to sit and whine about how they’re not a friendly group if you’re not wearing a black band t-shirt and cargo shorts, you’re in the wrong place. Metalheads are a global culture that’s almost 50 years old, and there are good reasons for every cultural norm. You’re not going to shock the system and start a social revolution by complaining about the group of people who invented social networking before the internet (I’m looking at you Shayne Mathis).

Also, Hardcore dancing/Two stepping/Practicing karate is not my favorite. It really depends on the show, but most places I go to discourage it. It’s about as cool as the shirtless white trash guy that ends up in the pit at every major show (we get it, you’re sweaty and overheated. Taking your shirt off won’t change that). Most people I talk to are either ambiguous about it or harbor a strong dislike of the practice. If other people are doing it and it floats your boat, whatever. I just hope it disappears like Grunge or Hair metal.

I’m not sure I can handle anything greater than Fallujah’s dreamless being released this year.

Most of time, albums don’t really live up to their hype or end up being completely sub-par.

This is not one of those times.

Fallujah met and/or exceeded every single hope and expectation I had for this new album. Luckily, I had someone surprise me with a limited edition copy on colored vinyl.

So, enough about me. this album is fan-fucking-tastic. It’s like they combined my two favorite things, ambient music and face melting heavy metal. Except I didn’t know ambient music was one of my favorite things. And I still don’t like it outside of the context of a Fallujah album.

Just go buy it.

Create a free website or blog at WordPress.com.

Up ↑