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1 
‘Heavy 
metal 
thunder’ 
#med332
2 
What 
is 
‘heavy 
metal’?
3
Splintered 
psychedelia 
1. Country 
rock 
2. Progressive 
rock 
3. Heavy 
metal 
4
Splintered 
psychedelia 
1. Country 
rock 
2. Progressive 
rock 
3. Heavy 
metal 
5
[Heavy 
metal] 
was 
a 
logical 
progression 
from 
the 
power 
trios 
of 
1960s 
groups 
such 
as 
the 
Jimi 
Hendrix 
Experience 
and 
Cream, 
who 
played 
blues-­‐based 
rock 
with 
heavily 
amplified 
guitar 
and 
bass 
reinforcing 
each 
other. 
-­‐ 
Roy 
Shuker, 
2001: 
151 
6
Geographical 
origins 
• Blue 
Cheer’s 
(1968) 
reworking 
of 
Eddie 
Cochran’s 
‘SummerYme 
Blues’ 
• Steppenwolf’s 
‘Born 
To 
Be 
Wild’ 
(1967) 
• Black 
Sabbath’s 
eponymous 
debut 
album 
(1970) 
– Shuker, 
ibid 
7
If 
metal 
could 
be 
said 
to 
have 
go]en 
started 
in 
a 
single 
place, 
it 
would 
have 
to 
be 
Birmingham, 
England, 
the 
industrial 
city 
whose 
working 
class 
spawned 
Ozzy 
Osbourne, 
Black 
Sabbath, 
and 
Judas 
Priest 
in 
the 
late 
1960s 
and 
the 
early 
1970s. 
-­‐ 
Robert 
Walser, 
1993: 
x 
8
9 
Black 
Sabbath
Blues/hard/glam 
rock 
• Black 
Sabbath 
• Deep 
Purple 
• Led 
Zeppelin 
• Grand 
Funk 
Railroad 
• Mountain 
• Kiss 
10
11 
Crank 
the 
volume…
BriYsh 
new 
wave 
• Iron 
Maiden 
• Judas 
Priest 
• Def 
Leppard 
• Saxon 
• Motorhead 
12
13
14 
Judas 
Priest 
– 
‘Breaking 
the 
Law’ 
(1980) 
Bri$sh 
Steel
Thrash/speed 
metal 
• Metallica 
• Slayer 
• Megadeth 
• Suicidal 
Tendancies 
• Anthrax 
15
Fans 
and 
class: 
Associated 
with 
working 
class, 
white, 
young 
and 
male 
16
InternaYonal 
appeal 
Its 
intense 
popularity 
in 
working-­‐class 
ciYes 
of 
Scandinavia 
and 
the 
contemporary 
experience 
of 
metal 
in 
the 
Australian 
context, 
suggests 
that 
heavy-­‐metal, 
as 
a 
genre, 
draws 
its 
potent 
audience 
power 
from 
working-­‐class 
youth 
-­‐ 
Breen, 
1991: 
194 
17
Not 
in 
the 
USA 
though… 
• Early 
US 
fans 
tendency: 
– low 
educaYonal 
achievement, 
– poor 
socio-­‐economic 
status, 
– relaYvely 
few 
opportuniYes 
for 
social 
mobility. 
• Quickly 
changed 
through 
the 
1980s 
18
The 
1980s 
was 
the 
decade 
of 
heavy 
metal’s 
emergence 
as 
a 
massively 
popular 
musical 
style, 
as 
it 
burgeoned 
in 
both 
commercial 
success 
and 
stylisYc 
variety. 
The 
heavy 
metal 
audience 
became 
increasingly 
gender-­‐balanced 
and 
middle-­‐class, 
and 
its 
age 
range 
expanded 
to 
include 
significant 
numbers 
of 
preteens 
and 
people 
in 
their 
late 
twenYes. 
By 
1989, 
heavy 
metal 
accounted 
for 
as 
much 
as 
40 
percent 
of 
all 
sound 
recordings 
sold 
in 
the 
United 
States, 
and 
Rolling 
Stone 
announced 
that 
heavy 
metal 
now 
consYtuted 
‘the 
mainstream 
of 
rock 
and 
roll’. 
-­‐ 
Walser, 
1993: 
3 
19
20
21 
Bon 
Jovi 
– 
‘Never 
Say 
Goodbye 
(1986) 
Slippery 
When 
Wet 
US: 
No 
11 
UK: 
No 
21
22 
The 
most 
obvious 
change 
was 
in 
the 
lyrics: 
abandoning 
heavy 
metal 
gloom 
and 
doom, 
and 
creepy 
mysYcism 
[Bon 
Jovi] 
began 
culYvaYng 
a 
posiYve, 
upbeat 
outlook, 
where 
the 
only 
mysYcal 
element 
was 
bourgeois 
love. 
WriYng 
songs 
about 
romanYc 
love 
and 
personal 
relaYonships, 
they 
tempered 
their 
heavy 
metal 
sound 
and 
image 
and 
pitched 
their 
product 
to 
appeal 
as 
well 
to 
a 
new, 
female 
market 
-­‐ 
Walser, 
1993: 
120
23
24 
Metallica 
– 
‘One’ 
(1989) 
… 
And 
Jus$ce 
For 
All 
US: 
No 
35 
UK: 
No 
13
25 
The 
gender 
issue…
26 
Not 
only 
do 
we 
find 
men 
occupying 
every 
important 
style 
in 
the 
rock 
industry 
and 
in 
effect 
being 
responsible 
for 
the 
creaYon 
and 
construcYon 
of 
suitable 
female 
images, 
we 
also 
witness 
in 
rock 
the 
presentaYon 
and 
markeYng 
of 
masculine 
styles. 
-­‐ 
Firth 
&McRobbie, 
1978: 
378
27 
cock-­‐rock 
performance 
means 
an 
explicit, 
crude, 
'masterful' 
expression 
of 
sexuality 
... 
Cock-­‐rock 
performers 
are 
aggressive, 
boaspul, 
constantly 
drawing 
audience 
a]enYon 
to 
their 
prowess 
and 
control. 
Their 
bodies 
are 
on 
display 
... 
mikes 
and 
guitars 
are 
phallic 
symbols 
(or 
else 
caressed 
like 
female 
bodies), 
the 
music 
is 
loud, 
rhythmically 
insistent, 
built 
around 
techniques 
of 
arousal 
and 
release. 
Lyrics 
are 
asserYve 
and 
arrogant, 
but 
the 
exact 
words 
are 
less 
significant 
than 
the 
vocal 
styles 
involved, 
the 
shrill 
shouYng 
and 
screaming 
-­‐ 
Frith, 
1981: 
p266
28
29 
Oh, 
look 
out, 
here 
comes 
trouble! 
All 
my 
life 
I've 
taken 
what 
I 
want 
Give 
an 
inch, 
take 
a 
mile 
Always 
on 
the 
hunt 
Ooh-­‐ 
sex, 
money, 
fast 
cars, 
never 
get 
my 
fill 
I 
ride 
hard 
and 
die 
free 
Paying 
for 
my 
thrills 
Firewater 
moonshine 
going 
to 
my 
head 
Me 
and 
my 
pistol's 
loaded 
Go 
out 
and 
knock 
'em 
dead 
I'm 
gonna 
shoot 
it, 
bang 
boom 
Shoot 
it 
from 
the 
hip 
Got 
it 
loaded 
bang, 
pull 
the 
trigger 
boom 
I 
don't 
never 
miss 
[…] 
Cock 
it 
and 
let 
'er 
rip 
Hot 
sweaty 
steel, 
a 
woman's 
fingers 
on 
my 
gun 
Pull 
it 
hard, 
touch 
the 
trigger, 
squeeze 
it 
when 
I'm 
done 
Ooh-­‐ 
come 
woman, 
touch 
me, 
put 
it 
in 
your 
hand 
Take 
a 
hold, 
heart 
and 
soul 
Honey 
I'm 
your 
man 
Cock 
the 
hammer 
slowly, 
and 
aim 
it 
at 
your 
love 
Put 
my 
barrel 
in 
your 
holster 
Like 
a 
velvet 
glove 
I'm 
gonna 
shoot 
it, 
bang 
boom 
[…] 
Hot 
and 
sYcky, 
here 
it 
comes 
W.A.S.P. 
– 
‘Shoot 
From 
The 
Hip’ 
(1986)
30 
Aerosmith 
– 
‘Love 
in 
an 
Elevator’ 
(1989) 
Pump 
US: 
No 
1 
UK: 
No 
13
31 
Ninety 
thousand 
screaming 
wa]s 
Honey 
dripping 
from 
her 
pot 
Fill 
the 
cup 
to 
the 
top 
tonight 
This 
deadly 
sin 
is 
all 
we 
know 
Pleasure 
vicYm, 
who's 
next 
to 
fall 
The 
quesYon 
is 
will 
you 
please 
us 
all 
tonight? 
Tonight 
tonight 
tonight 
We 
need 
a 
lover 
tonight 
(x3) 
We 
need 
a 
lover 
Stand 
tall 
and 
ring 
the 
bell 
The 
final 
stroke 
sends 
you 
to 
hell 
Take 
your 
body 
like 
a 
hammer 
and 
a 
nail 
The 
taste 
of 
love, 
it 
might 
be 
yours 
Slide 
down 
my 
knees 
taste 
my 
sword 
Can 
you 
feel 
the 
power 
inside 
tonight? 
Tonight 
tonight 
tonight 
We 
need 
a 
lover 
tonight 
(x3) 
We 
need 
a 
lover 
Motley 
Cru 
-­‐ 
‘Tonight, 
We 
Need 
a 
Lover’ 
(1985)
32 
[…] 
sex 
toy, 
meant 
only 
to 
pleasure 
men. 
In 
“Tonight, 
We 
Need 
a 
Lover,” 
Motley 
Cru 
sing 
of 
a 
woman 
in 
these 
terms. 
Her 
value 
is 
in 
fact 
reduced 
to 
one 
line: 
“the 
quesYon 
is 
will 
you 
please 
us 
all 
tonight?” 
Indeed, 
the 
woman 
in 
this 
song 
serves 
only 
as 
a 
receptacle 
for 
seminal 
fluid, 
as 
the 
band 
members 
intend 
to 
“fill 
the 
cup 
to 
the 
top.” 
She 
seems 
willing 
to 
copulate 
with 
all 
four 
men, 
even 
sexually 
aroused 
at 
the 
thought, 
as 
indicated 
in 
the 
descripYon 
of 
“honey 
dripping 
from 
her 
pot,” 
a 
metaphor 
for 
female 
vaginal 
lubricaYon. 
-­‐ 
Sloat, 
cited 
in 
Epstein, 
1998: 
286
33 
I 
can 
take 
you 
up 
I 
can 
tear 
you 
down 
I'm 
a 
heat 
wave 
coming 
at 
you 
Taking 
what 
I 
please 
Falling 
on 
your 
knees 
You 
need 
me, 
yes, 
you 
do 
From 
the 
moment 
I 
take 
over 
You're 
going 
to 
call 
me 
back 
for 
more 
Down 
on 
your 
knees, 
down 
on 
your 
knees, 
down 
on 
your 
knees 
(x 
3) 
Knocking 
down 
your 
door 
Pull 
you 
to 
the 
floor 
'Cause 
you 
need 
it 
so 
bad 
Taking 
what 
I 
choose 
Never 
going 
to 
lose 
I 
love 
to 
drive 
the 
young 
girls 
wild 
Going 
to 
drive 
my 
love 
inside 
you 
Going 
to 
nail 
your 
arse 
to 
the 
floor 
to 
the 
floor 
[…] 
Here 
I 
come 
now, 
baby, 
kicking 
down 
your 
door 
Here 
I 
come 
now, 
baby, 
pull 
you 
to 
the 
floor 
Taking 
what 
I 
choose, 
girl, 
I'm 
never 
going 
to 
lose 
I 
love 
to 
drive 
the 
young 
girls 
wild, 
driving 
my 
love 
inside 
of 
you 
[…] 
Great 
White 
– 
‘On 
Your 
Knees’ 
(1984)
34 
When 
he 
sings 
“kicking 
in 
[down] 
your 
door… 
pull 
you 
to 
the 
floor,” 
there 
is 
li]le 
doubt 
that 
rape 
is 
his 
moYvaYon, 
but 
it 
is 
excused 
because 
he 
insists 
on 
“taking 
what 
I 
choose.” 
It 
becomes 
his 
right, 
and 
therefore 
the 
right 
of 
all 
men, 
to 
rape 
women 
if 
that’s 
what 
they 
choose. 
She 
will, 
according 
to 
him, 
enjoy 
it 
“from 
the 
moment 
I 
take 
over” 
and 
will 
“call 
back 
for 
more” 
of 
the 
same, 
because 
“you 
need 
it 
so 
bad.” 
-­‐ 
Sloat, 
cited 
in 
Epstein, 
1998: 
293
35
36 
Guns 
N’ 
Roses 
– 
‘Welcome 
to 
the 
Jungle’ 
(1987) 
Appe$te 
for 
Destruc$on
37
38 
I’ve 
been 
doing 
a 
lot 
of 
work 
(in 
regression 
therapy) 
and 
found 
out 
that 
I’ve 
had 
a 
lot 
of 
hatred 
for 
women. 
Basically, 
I’ve 
been 
rejected 
by 
my 
mother 
since 
I 
was 
a 
baby 
… 
I’ve 
gone 
back 
and 
done 
the 
work 
and 
found 
out 
I 
overheard 
my 
grandmother 
going 
off 
on 
men 
when 
I 
was 
four. 
And 
I’ve 
had 
problems 
with 
my 
own 
masculinity 
because 
of 
that 
-­‐ 
Axl 
Rose 
in 
Neely, 
1992: 
p36
39 
Iconography
40
41 
Parents 
Music 
Resource 
Center 
(PMRC) 
Tipper 
Gore 
Rock 
Music 
Report 
Le]er-­‐wriYng 
campaigns 
1985 
US 
Senate 
Commerce 
Commi]ee 
hearings 
Records 
raYngs
42
43
44
45
46
Images 
• Greg 
McMullen 
(2013) 
Heavy 
Metal 
Helps 
• NRK 
P3 
(2014) 
Metallica 
-­‐ 
Valle 
Hovin 
2014 
• Andy 
Wilson 
(2012) 
Amplified 
• Dan 
(2007) 
Axel 
Rose 
47

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Med332 heavy metal

  • 1. 1 ‘Heavy metal thunder’ #med332
  • 2. 2 What is ‘heavy metal’?
  • 3. 3
  • 4. Splintered psychedelia 1. Country rock 2. Progressive rock 3. Heavy metal 4
  • 5. Splintered psychedelia 1. Country rock 2. Progressive rock 3. Heavy metal 5
  • 6. [Heavy metal] was a logical progression from the power trios of 1960s groups such as the Jimi Hendrix Experience and Cream, who played blues-­‐based rock with heavily amplified guitar and bass reinforcing each other. -­‐ Roy Shuker, 2001: 151 6
  • 7. Geographical origins • Blue Cheer’s (1968) reworking of Eddie Cochran’s ‘SummerYme Blues’ • Steppenwolf’s ‘Born To Be Wild’ (1967) • Black Sabbath’s eponymous debut album (1970) – Shuker, ibid 7
  • 8. If metal could be said to have go]en started in a single place, it would have to be Birmingham, England, the industrial city whose working class spawned Ozzy Osbourne, Black Sabbath, and Judas Priest in the late 1960s and the early 1970s. -­‐ Robert Walser, 1993: x 8
  • 10. Blues/hard/glam rock • Black Sabbath • Deep Purple • Led Zeppelin • Grand Funk Railroad • Mountain • Kiss 10
  • 11. 11 Crank the volume…
  • 12. BriYsh new wave • Iron Maiden • Judas Priest • Def Leppard • Saxon • Motorhead 12
  • 13. 13
  • 14. 14 Judas Priest – ‘Breaking the Law’ (1980) Bri$sh Steel
  • 15. Thrash/speed metal • Metallica • Slayer • Megadeth • Suicidal Tendancies • Anthrax 15
  • 16. Fans and class: Associated with working class, white, young and male 16
  • 17. InternaYonal appeal Its intense popularity in working-­‐class ciYes of Scandinavia and the contemporary experience of metal in the Australian context, suggests that heavy-­‐metal, as a genre, draws its potent audience power from working-­‐class youth -­‐ Breen, 1991: 194 17
  • 18. Not in the USA though… • Early US fans tendency: – low educaYonal achievement, – poor socio-­‐economic status, – relaYvely few opportuniYes for social mobility. • Quickly changed through the 1980s 18
  • 19. The 1980s was the decade of heavy metal’s emergence as a massively popular musical style, as it burgeoned in both commercial success and stylisYc variety. The heavy metal audience became increasingly gender-­‐balanced and middle-­‐class, and its age range expanded to include significant numbers of preteens and people in their late twenYes. By 1989, heavy metal accounted for as much as 40 percent of all sound recordings sold in the United States, and Rolling Stone announced that heavy metal now consYtuted ‘the mainstream of rock and roll’. -­‐ Walser, 1993: 3 19
  • 20. 20
  • 21. 21 Bon Jovi – ‘Never Say Goodbye (1986) Slippery When Wet US: No 11 UK: No 21
  • 22. 22 The most obvious change was in the lyrics: abandoning heavy metal gloom and doom, and creepy mysYcism [Bon Jovi] began culYvaYng a posiYve, upbeat outlook, where the only mysYcal element was bourgeois love. WriYng songs about romanYc love and personal relaYonships, they tempered their heavy metal sound and image and pitched their product to appeal as well to a new, female market -­‐ Walser, 1993: 120
  • 23. 23
  • 24. 24 Metallica – ‘One’ (1989) … And Jus$ce For All US: No 35 UK: No 13
  • 25. 25 The gender issue…
  • 26. 26 Not only do we find men occupying every important style in the rock industry and in effect being responsible for the creaYon and construcYon of suitable female images, we also witness in rock the presentaYon and markeYng of masculine styles. -­‐ Firth &McRobbie, 1978: 378
  • 27. 27 cock-­‐rock performance means an explicit, crude, 'masterful' expression of sexuality ... Cock-­‐rock performers are aggressive, boaspul, constantly drawing audience a]enYon to their prowess and control. Their bodies are on display ... mikes and guitars are phallic symbols (or else caressed like female bodies), the music is loud, rhythmically insistent, built around techniques of arousal and release. Lyrics are asserYve and arrogant, but the exact words are less significant than the vocal styles involved, the shrill shouYng and screaming -­‐ Frith, 1981: p266
  • 28. 28
  • 29. 29 Oh, look out, here comes trouble! All my life I've taken what I want Give an inch, take a mile Always on the hunt Ooh-­‐ sex, money, fast cars, never get my fill I ride hard and die free Paying for my thrills Firewater moonshine going to my head Me and my pistol's loaded Go out and knock 'em dead I'm gonna shoot it, bang boom Shoot it from the hip Got it loaded bang, pull the trigger boom I don't never miss […] Cock it and let 'er rip Hot sweaty steel, a woman's fingers on my gun Pull it hard, touch the trigger, squeeze it when I'm done Ooh-­‐ come woman, touch me, put it in your hand Take a hold, heart and soul Honey I'm your man Cock the hammer slowly, and aim it at your love Put my barrel in your holster Like a velvet glove I'm gonna shoot it, bang boom […] Hot and sYcky, here it comes W.A.S.P. – ‘Shoot From The Hip’ (1986)
  • 30. 30 Aerosmith – ‘Love in an Elevator’ (1989) Pump US: No 1 UK: No 13
  • 31. 31 Ninety thousand screaming wa]s Honey dripping from her pot Fill the cup to the top tonight This deadly sin is all we know Pleasure vicYm, who's next to fall The quesYon is will you please us all tonight? Tonight tonight tonight We need a lover tonight (x3) We need a lover Stand tall and ring the bell The final stroke sends you to hell Take your body like a hammer and a nail The taste of love, it might be yours Slide down my knees taste my sword Can you feel the power inside tonight? Tonight tonight tonight We need a lover tonight (x3) We need a lover Motley Cru -­‐ ‘Tonight, We Need a Lover’ (1985)
  • 32. 32 […] sex toy, meant only to pleasure men. In “Tonight, We Need a Lover,” Motley Cru sing of a woman in these terms. Her value is in fact reduced to one line: “the quesYon is will you please us all tonight?” Indeed, the woman in this song serves only as a receptacle for seminal fluid, as the band members intend to “fill the cup to the top.” She seems willing to copulate with all four men, even sexually aroused at the thought, as indicated in the descripYon of “honey dripping from her pot,” a metaphor for female vaginal lubricaYon. -­‐ Sloat, cited in Epstein, 1998: 286
  • 33. 33 I can take you up I can tear you down I'm a heat wave coming at you Taking what I please Falling on your knees You need me, yes, you do From the moment I take over You're going to call me back for more Down on your knees, down on your knees, down on your knees (x 3) Knocking down your door Pull you to the floor 'Cause you need it so bad Taking what I choose Never going to lose I love to drive the young girls wild Going to drive my love inside you Going to nail your arse to the floor to the floor […] Here I come now, baby, kicking down your door Here I come now, baby, pull you to the floor Taking what I choose, girl, I'm never going to lose I love to drive the young girls wild, driving my love inside of you […] Great White – ‘On Your Knees’ (1984)
  • 34. 34 When he sings “kicking in [down] your door… pull you to the floor,” there is li]le doubt that rape is his moYvaYon, but it is excused because he insists on “taking what I choose.” It becomes his right, and therefore the right of all men, to rape women if that’s what they choose. She will, according to him, enjoy it “from the moment I take over” and will “call back for more” of the same, because “you need it so bad.” -­‐ Sloat, cited in Epstein, 1998: 293
  • 35. 35
  • 36. 36 Guns N’ Roses – ‘Welcome to the Jungle’ (1987) Appe$te for Destruc$on
  • 37. 37
  • 38. 38 I’ve been doing a lot of work (in regression therapy) and found out that I’ve had a lot of hatred for women. Basically, I’ve been rejected by my mother since I was a baby … I’ve gone back and done the work and found out I overheard my grandmother going off on men when I was four. And I’ve had problems with my own masculinity because of that -­‐ Axl Rose in Neely, 1992: p36
  • 40. 40
  • 41. 41 Parents Music Resource Center (PMRC) Tipper Gore Rock Music Report Le]er-­‐wriYng campaigns 1985 US Senate Commerce Commi]ee hearings Records raYngs
  • 42. 42
  • 43. 43
  • 44. 44
  • 45. 45
  • 46. 46
  • 47. Images • Greg McMullen (2013) Heavy Metal Helps • NRK P3 (2014) Metallica -­‐ Valle Hovin 2014 • Andy Wilson (2012) Amplified • Dan (2007) Axel Rose 47

Notes de l'éditeur

  1. Ozzy bites the head off a bat
  2. Loudness