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
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
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
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
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
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
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
47. Images
• Greg
McMullen
(2013)
Heavy
Metal
Helps
• NRK
P3
(2014)
Metallica
-‐
Valle
Hovin
2014
• Andy
Wilson
(2012)
Amplified
• Dan
(2007)
Axel
Rose
47