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==Authenticity== |
==Authenticity== |
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In the musical subcultures of [[heavy metal]],[[punk]], and [[hip-hop]], the word [[poseur (music) |"poseur"]] (or "poser") is used a pejorative term to describe "a person who habitually pretends to be something he is not." <ref>http://www.english-test.net/gre/vocabulary/words/184/gre-definitions.php#poseur</ref> The term is used to refer to a person who adopts the dress, speech, and/or mannerisms of a group or subculture, generally for attaining acceptability within the group, yet who is deemed to not share or understand the values or philosophy of the subculture. In a 1993 profile of heavy metal fans' "subculture of alienation", the author noted that the scene classified some members as "poseurs," that is, heavy metal performers or fans who pretended to be part of the subculture, but who were deemed to lack authenticity and sincerity. <reF>"Three profiles of heavy metal fans: A taste for sensation and a subculture of alienation." In ''Journal Qualitative Sociology''. Publisher Springer Netherlands. ISSN 0162-0436 (Print) 1573-7837 (Online). Issue Volume 16, Number 4 / December, 1993. |
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Pages 423-443 </ref> Jeffrey Arnett's 1996 book ''Metalheads: Heavy Metal Music and Adolescent Alienation'' argues that the heavy metal subculture classifies members into two categories by giving "...acceptance as an authentic metalhead or rejection as a fake, a poseur."<reF>''Metalheads: Heavy Metal Music and Adolescent Alienation'' - by Jeffrey Jensen Arnett - 1996 - Music - 196 pages</ref> |
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In the 1970s, heavy metal fans began using the terms "sell out" and "poseur" to refer to bands such as [[Def Leppard]] who turned their heavy metal sound into radio-friendly rock music. In metal, the term is used to refer to "...someone dishonest who adopted the most rigorous pose, or identity-affirming lifestyle and opinions". The metal bands that earned this epithet are those "... who adopt the visible aspects of the orthodoxy (sound, images) without contributing to the underlying belief system." <ref> |
In the 1970s, heavy metal fans began using the terms "sell out" and "poseur" to refer to bands such as [[Def Leppard]] who turned their heavy metal sound into radio-friendly rock music. In metal, the term is used to refer to "...someone dishonest who adopted the most rigorous pose, or identity-affirming lifestyle and opinions". The metal bands that earned this epithet are those "... who adopt the visible aspects of the orthodoxy (sound, images) without contributing to the underlying belief system." <ref> |
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Copyright © 1988-2007 the Dark Legions Archive |
Copyright © 1988-2007 the Dark Legions Archive |
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http://www.anus.com/metal/about/metal/orthodox/</ref> In the heavy metal subculture, some critics use the term to describe bands that are seen as excessively commercial, such as MTV-friendly [[glam metal]] groups. |
http://www.anus.com/metal/about/metal/orthodox/</ref> In the heavy metal subculture, some critics use the term to describe bands that are seen as excessively commercial, such as MTV-friendly [[glam metal]] groups. |
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Ron Quintana's article on "Metallica['s] Early History" argues that when [[Metallica]] was trying to find a place in the LA metal scene in the early 1980s, "American hard-rock scene was dominated by highly coiffed, smoothly-polished bands such as [[Styx]], [[Journey]] and [[REO Speedwagon]]." He claims that this made it hard for Metallica to "...play their [heavy] music and win over a crowd in a land where poseurs ruled and anything fast and heavy was ignored."<reF>Ron Quintana's article on "Metallica['s] Early History", first published in Thrash Metal, USA |
Ron Quintana's article on "Metallica['s] Early History" argues that when [[Metallica]] was trying to find a place in the LA metal scene in the early 1980s, "American hard-rock scene was dominated by highly coiffed, smoothly-polished bands such as [[Styx]], [[Journey]] and [[REO Speedwagon]]." He claims that this made it hard for Metallica to "...play their [heavy] music and win over a crowd in a land where poseurs ruled and anything fast and heavy was ignored."<reF>Ron Quintana's article on "Metallica['s] Early History", first published in Thrash Metal, USA |
Revision as of 20:02, 29 July 2008
Metalhead is a popular term for a devoted fan of heavy metal music and is often used interchangeably with the term "headbanger"; since the early 1990s, however, the use of the latter term has declined in favor of the more fashionable "metalhead" tag.
Overview
Heavy metal music has an following in countries beyond the UK and US, where it first developed. In the 2000s, and fans can be found in virtually every country in the world including South Africa, Asia (especially Japan), and South America (especially Brazil). Metal has a following and bands in some major cities in Middle Eastern and South Asian countries. Even in some of the more conservative Muslim countries of the Middle East a tiny metal culture exists, though judicial and religious authorities do not always tolerate it. In 2003, more than a dozen members and fans of Moroccan heavy metal bands were imprisoned for "undermining the Muslim faith" through their "satanic" music.[1] Israel, for such a small country, has a strong metal scene, particularly in the subgenres of stoner/doom and black metal.[2] In Western Europe, metal has a more mainstream appeal, whereas in the US and Canada it is more of a subculture. Heavy metal artists will spend much more time touring in Europe than in the Americas. Metal has a large Japanese fanbase, with such bands as Blind Guardian, Dream Theater, Gwar, Deep Purple, Judas Priest, Iron Maiden, In Flames, and others releasing "Live in Japan" or "Live at the Budokan" albums. England is noted as the birthplace of metal and within the major cities such as London and Manchester the metal scene is especially strong.
Social aspects
In place of typical dancing, metalheads are more likely to mosh or headbang, a movement in which the head is vigorously shaken up and down (or “windmilled” in a circular motion) while the lower body remains somewhat still (or using the arms to play the air guitar). The fast pace, tempo and time changes, and complex rhythm of most metal music makes traditional forms of dance difficult or at least very physically tiring to perform. As well, the male-oriented culture of heavy metal makes typical dancing out of place. However, due to the rise in popularity of nu metal, metalcore and alternative metal (whose emphasis is on grinding textures, funky riffs and more dance-orientated sounds), as well as headbanging some fans will Hardcore dance to the music, usually during breakdowns. Skanking is derived from ska music, and is characterized by bouncing movements to the beat of the song, sometimes adding punches and kicks into this motion, normally in circle of other participators, while elements of breakdancing might come into play as well, such as complicated footwork and hand movements.
During the early 1980s, with the rise of thrash metal, elements of the hardcore punk culture began to be incorporated into metalhead lifestyle, some of the more prominent aspects of which included slamdancing and moshing, where fans would form rings in the crowd within which they would run into each other and/or push and shove one another and stage-diving, where fans climb onto the stage with the band and launch themselves into the crowd. Later, crowd-surfing, where individuals are lifted and carried forward over the heads of others in the audience, also became popular. While this behavior was generally restricted to the punk and metalhead cultures during the 1980s, by the early 90s moshing, stage-diving and crowd-surfing had spilled over to virtually all spheres of alternative rock music to the extent that by the end of that decade it could no longer be held as an identifier of any one particular music sub-culture.
Fans from the metalhead culture often make the "Corna" hand-signal formed by a fist with the "pinkie" and index fingers extended, known variously as the “devil’s horns”, the “metal fist” and other similar descriptors. The "Corna" was originally an occult sign used to ward off the evil spirits in Southern and Eastern Europe. An example of this can be found in the early chapters of Bram Stoker's "Dracula". This gesture was first popularized by Ronnie James Dio in the 1980s and was quickly adopted into the metalhead sub-culture. “Throwing the horns” or “showing the metal fist” very soon became a way for metalheads to recognize and acknowledge each other and to show their appreciation for almost anything from a song or a band to virtually anything else they enjoyed. While the gesture still has strong ties to metal, over the last decade or so its appearance in popular mainstream films such as "Bill and Ted’s Excellent Adventure" has caused it to be adopted into almost every youth sub-culture, often to the chagrin of metalheads who feel that its status as a sacred element of their lifestyle has been cheapened by its overuse outside the community. The Corna is also very similar to the Texas Longhorns hand symbol.
A list of metalhead interests lines up well with the song topics and lyrical content used by metal bands. The interests vary by subgenre, but in general they include horror films, science fiction, occultism, swords and sorcery-oriented fantasy, European and US history, politics, blood and gore imagery, weaponry (e.g. swords, knives, and firearms) and militaria, recreational cannabis use and alcohol consumption.
Within the culture itself, metalheads often distinguish themselves according to what genre of metal they especially enjoy. While metalheads have a tendency to consider each other part of a larger brotherhood, this desire to sub-divide into smaller groups dedicated to particular sub-genres has possibly undermined the idea of a fraternal spirit. Occasionally, there is reluctance for fans of particular sub-genres of metal to mingle with fans of other sub-genres and even some debate among fans as to whether particular sub-genres are truly representative of metal music. These debates are significantly more volatile when it comes to the classification of nu metal and its relevancy as part of metalhead culture. To many metalheads, the likes of nu metal and metalcore are low quality imitations of "real" heavy metal, mainstream and popularism (and therefore watered-down) versions of metal that have no real affiliation to the metal culture.
On the other hand, there are others who argue that these styles have some merit as they often lead to newer fans discovering the "real" metal. However, heavy metal music has never been afraid to court mainstream popularity. Some of the best known acts like Iron Maiden, Judas Priest, Motörhead, Megadeth and Metallica have enjoyed immense worldwide commercial success and many others like Dream Theater, Opeth, In Flames and Nightwish have attracted large and dedicated followings that often include many people who wouldn't usually listen to heavy metal. However, some artists, most notably those involved in black metal, prefer obscurity and actively seek underground rather than popular appeal.
Authenticity
In the musical subcultures of heavy metal,punk, and hip-hop, the word "poseur" (or "poser") is used a pejorative term to describe "a person who habitually pretends to be something he is not." [3] The term is used to refer to a person who adopts the dress, speech, and/or mannerisms of a group or subculture, generally for attaining acceptability within the group, yet who is deemed to not share or understand the values or philosophy of the subculture. In a 1993 profile of heavy metal fans' "subculture of alienation", the author noted that the scene classified some members as "poseurs," that is, heavy metal performers or fans who pretended to be part of the subculture, but who were deemed to lack authenticity and sincerity. [4] Jeffrey Arnett's 1996 book Metalheads: Heavy Metal Music and Adolescent Alienation argues that the heavy metal subculture classifies members into two categories by giving "...acceptance as an authentic metalhead or rejection as a fake, a poseur."[5]
In the 1970s, heavy metal fans began using the terms "sell out" and "poseur" to refer to bands such as Def Leppard who turned their heavy metal sound into radio-friendly rock music. In metal, the term is used to refer to "...someone dishonest who adopted the most rigorous pose, or identity-affirming lifestyle and opinions". The metal bands that earned this epithet are those "... who adopt the visible aspects of the orthodoxy (sound, images) without contributing to the underlying belief system." [6] In the heavy metal subculture, some critics use the term to describe bands that are seen as excessively commercial, such as MTV-friendly glam metal groups.
Ron Quintana's article on "Metallica['s] Early History" argues that when Metallica was trying to find a place in the LA metal scene in the early 1980s, "American hard-rock scene was dominated by highly coiffed, smoothly-polished bands such as Styx, Journey and REO Speedwagon." He claims that this made it hard for Metallica to "...play their [heavy] music and win over a crowd in a land where poseurs ruled and anything fast and heavy was ignored."[7] In David Rocher's 1999 interview with Damian Montgomery, the frontman of Ritual Carnage, he praised Montgomery as "...an authentic, no-frills, poseur-bashing, nun-devouring kind of gentleman, an enthusiastic metalhead truly in love with the lifestyle he preaches... and unquestionably practises.[8]
In 2002, "[m]etal guru Josh Wood" claimed that the "credibility of heavy metal" in North America is being destroyed by the genre's demotion to "...horror movie soundtracks, wrestling events and, worst of all, the so-called "Mall Core" groups like Pantera, SlipKnot and Korn." Wood claims that the "...true [metal] devotee’s path to metaldom is perilous and fraught with poseurs." [9] In an article on metal/hard rock frontman Axl Rose, entitled "Ex–‘White-Boy Poseur", Rose admitted that he has had "...time to reflect on heavy-metal posturing" of the last few decades. He notes that “We thought we were so badass...[until] N.W.A. came out rapping about this world where you walk out of your house and you get shot." At this point, Rose argues that "It was just so clear what stupid little white-boy poseurs we were." [10]
Attire
Apart from the music itself, the most distinctive aspect of metalhead culture is its fashion. Like the music at its cultural core, these fashions have experienced levels of change and diversity over the decades. The evolution of metalhead fashion has in fact been quite pronounced, from a style that could almost be defined as uniform in earlier times to a far more broadened look recently. Some aspects of this fashion have spawned a backlash that seems to be renewing an interest in older trends among some members of the sub-culture.
Typically, the heavy metal fashions of the late 1970s – 1980s comprised tight blue jeans or drill pants, motorcycle boots or hi-top sneakers and black t-shirts, traditionally augmented with a sleeve-less jacket of denim or leather emblazoned with woven patches and button pins from heavy metal artists. Sometimes, a denim vest, emblazoned with album art "knits" would be worn over a long-sleeved leather jacket (the more decrepit, the better). Like in other cultural groups, this jacket was often seen as the individual’s defining symbol within the sub-culture. During this period, metalheads often wore t-shirts with the emblem of bands they were fans of such as Iron Maiden, Megadeth, Black Sabbath, Led Zeppelin, Metallica, and Slayer (a trend still common today). The intricacy of decoration could be seen as both a reflection of one’s dedication to the genre as well as one’s status within the group.
This outfit could also be supplemented by jewellery and accessories that included studded leather wrist- and arm-bands, bullet belts (made of shell casings from belt-fed machine guns), chains and rings depicting skulls and other death- and horror-inspired designs. The metalheads of this era generally wore their hair quite long, with lengths beyond the shoulder being not uncommon, or sometimes in a mullet. The relatively small number of female metal devotees of the era were generally discouraged from dressing in a similar fashion as traditionally this costume was reserved almost exclusively for males. Some female metalheads adopted dress similar to that of goths or punks, such as streaks of brightly-dyed hair, safety-pinned clothes, and torn pantyhose.
By the early 1990s, metalhead fashion changed direction somewhat. This seems to correspond with the rise of the more diverse and even more extreme forms of heavy metal around the same time. Death metal and black metal began to dominate the culture as the more traditional forms of metal wavered under the influence of the grunge movement and metalhead fashion reflected this shift. As heavy metal music itself diversified and branched out, so did the fashions associated with it. A growing influence from goth and industrial music and hardcore punk became increasingly evident. Black jeans and army fatigue pants began to replace the more traditional blue jeans and the patch-clad “battle jackets” were pushed aside in favor of long-sleeve t-shirts and military-style coats. Some of the jewelry and accessories of the previous era also became less prominent but were by no means forgotten.
While long hair had been a defining aspect of metal culture in the 1970s and 1980s, by the 1990s shorter hairstyles and even completely shaven heads had begun to grow in acceptance. An increasing Nationalist-Socialist influence among some pockets of the heavy metal subculture was probably partly responsible for this but there were certainly many bands and artists of no clear political or philosophical persuasion that were choosing to either wear shorter hair or none at all. Influential acts such as Metallica and artists like Rob Halford of Judas Priest, Bruce Dickinson of Iron Maiden, Kerry King of Slayer, Scott Ian of Anthrax and Phil Anselmo of Pantera either cut their hair short or shaved it completely. In a strange contrast to the shorter length of head hair, it could be argued that beards and facial hair rose in popularity among metalheads in the 1990s. Whereas the metalhead of the late 1970s and early 1980s had a tendency to eschew facial hair except for the occasional mustache, yet during the 1990s beards and most particularly goatees, became rather popular.
The wave of "Hair Cutting" that has taken place throughout the more mainstream of American scenes has not seemed to effect the heavier, more underground genres. Band members and fans alike of genres such as death metal, and black metal still held true to the long hair, and tend to sport straight hair falling well below the shoulders. Long beards are also very popular and, in some cases, dreadlocks (as evidenced by artists such as Chris Barnes, formerly of Cannibal Corpse, Rob Zombie, Living Colour, Max Cavalera, Byron Davis of God Forbid, Anders Friden of In Flames, and Mike Bordin, formerly of Faith No More).
In the late 1990s, outside influences began to be infused into metalhead culture once again. The rise of nu metal saw facets of hip-hop and ghetto culture being introduced, including the adoption of sportswear, dreadlocks and African-American slang. Unlike the adoption of earlier influences however, these new aspects were seen by some to be at odds with the traditional metalhead outlook, particularly as many metalheads consider nu metal to be a completely different style of music with a totally different culture. The explosion in the popularity of metalcore since 2002 has also brought with it changes in fashion particularly, as fans of the genre are typically neater in appearance with shorter hair, usually dyed black, and a tendency toward favouring “label” clothing and footwear. Many of these newer fans are also seen to be associating themselves with the culture for purely fashionable reasons. As with members of the nu metal fanbase, there is some debate as to whether these fans can be properly described as metalheads as they are traditionally recognised or if they are, as many metalheads themselves believe, a new and different sub-culture.
Most recently around the mid-2000's, a renaissance of younger audiences became interested in 1980's metal and the rise of newer bands embracing older fashion ideals has led to a decidedly more 1980s-esque style of dress for metalheads. Some commentators have noted that some of the new audience are young, urban hipsters who had previously fetishized metal from a distance. Many young metalheads today grow hair below their shoulders and wear black t-shirts and leather jackets as 1980s metalheads did. However, the new imagery has been processed through current era metalhead styles, as tight jeans are no longer as common in younger fans as they were with early metalheads (most likely due to genres such as emo and their penchant for tight legwear). However, tight jeans are still considered "metal" and especially fans of the older styles of metal keep wearing them. Other metalheads wear more often baggy to semi-baggy jeans or military-style cargo pants for a powerful look, to match the music itself.
References
- ^ http://www.guardian.co.uk
- ^ Metal Mayhem UK
- ^ http://www.english-test.net/gre/vocabulary/words/184/gre-definitions.php#poseur
- ^ "Three profiles of heavy metal fans: A taste for sensation and a subculture of alienation." In Journal Qualitative Sociology. Publisher Springer Netherlands. ISSN 0162-0436 (Print) 1573-7837 (Online). Issue Volume 16, Number 4 / December, 1993. Pages 423-443
- ^ Metalheads: Heavy Metal Music and Adolescent Alienation - by Jeffrey Jensen Arnett - 1996 - Music - 196 pages
- ^ Copyright © 1988-2007 the Dark Legions Archive http://www.anus.com/metal/about/metal/orthodox/
- ^ Ron Quintana's article on "Metallica['s] Early History", first published in Thrash Metal, USA http://www.artistwd.com/joyzine/music/metallica/history.php
- ^ By David Rocher. CoC chats with Damian Montgomery of Ritual Carnage http://www.chroniclesofchaos.com/articles/chats/1-212_ritual_carnage.aspx
- ^ Christine Leonard's FfwdWeekly Music column. Thursday, November 7, 2002 http://www.ffwdweekly.com/Issues/2002/1107/mus1.htm
- ^ "Ex–‘White-Boy Poseur’ Axl Rose: Album delay is for the fans. Jada Yuan Published Sep 11, 2006 http://nymag.com/news/intelligencer/20338/