Cardiff Metropolitan University has banned the use of of English words that it considers masculine in order to “embrace cultural diversity”. Every single word in the English language with “man” in it is now banned due to social justice warriors, communists, and feminists waging war against masculinity and wishing to neuter all mankind into mediocrity. Violaters of Newspeak face academic discipline and expulsion.
Ali Habib, co-president of the Student Union for Democracy and Education at the School of Oriental and African Studies of the University of London, has called for the removal of European philosophers from the curriculum. He and his student union have demanded the University drop Plato, Descartes, Kant, and Russel simply as they were white in order to “decolonize the University” and “confront the white institution.” The multicultural, anti-European students wish to only study philosophy from a “critical standpoint” so that they may sieve out all European thinking through “acknowledging the colonial context in which so-called ‘Enlightenment’ philosophers wrote within.” Ali Habib (pictured above), the Yemenite student officer responsible for the statement, is a known supporter of Marxist anti-colonial philosopher Frantz Fanon who died of leukemia while fighting for the Algerian National Liberation Front
Crustfund social justice warrior, hypocrite, alleged groupie, liar, and Vice columnist Kim Kelly openly supported white genocide on Twitter late last month. She gave her “total support” to Drexel university associate professor George Ciccariello-Maher who publicly wished for a white genocide as a gift last Christmas on Twitter and slammed his critics as “white supremacists”. He followed up his initial lust for ethnic cleansing of his own race with another tweet stating:
The weaknesses of the San Francisco Bay Area “metal scene” have been in full display this October. The anticipated California Deathfest was thrown into disarray when death metal band DISMA was kicked out for political reasons – namely due to a past musical project of vocalist Craig Pillard (INCANTATION) which utilized imagery of the Third Reich. Besides the headliners of AUTOPSY and IMMOLATION, and a few less notable exceptions, this left the lineup of the “metal” nights filled with the grind/crust/punk mixture that is popular among a less discerning crowd. This suggested to outside observers that the interests of the promoters lay more with political agendas and popularity contests, than appreciation of metal music.
It was with interest that I heard of the “Legion of Steel Metalfest & Conference”, held over the course of four days this week and consisting of a “metal market”, “academic conferences” about heavy metal, and two night of music featuring most notably San Francisco death/speed metal stalwarts INSANITY, rock/heavy/speed metal band STONE VENGEANCE, and punks FANG, bands who never quite “made it” but who have been doggedly performing since at least the 80s. Only able to attend one night, I chose the night headlined by INSANITY, and showed up around 1PM to catch part of the conference, speculating that it might be some sinister affair where effete academics plot how to force their agenda on innocent hessians, but also open to more positive possibilities.
Missing the first three presentations, I arrived for “Becoming Death Itself: What Heavy Metal Offers Biblical Scholarship” presented by Charlotte Naylor Davis, of Great Britain. Her short presentation focused on the lyrics of METALLICA’s “Creeping Death”. Most interestingly, she pointed out that METALLICA presents the biblical story of an vengeful tribal god killing first-born children as a celebration of the power of death, and invites the audience to assume the role of the Angel of Death during the chanting climax of the song. This embrace of what is unpalatable or uncomfortable in “polite society” is part of what makes metal music powerful, and sets it apart from the happy illusions of most popular entertainment. Ms. Davis was a knowledgeable and enthusiastic presenter and I was disappointed the topic was not continued for longer.
Next was Mr. Shamma Boyarin of the University of Victoria, who first talked about Israeli “oriental metal” band ORPHANED LAND, who utilize the imagery of Judaism, Islam and Christianity. My ears perked when he mentioned how metal bands freely use themes from many different religious and occult practices, but in “obeisance to none”; i.e aesthetically, not dogmatically (paging Fred Nietzsche!). However, Mr. Boyarin chose to switch tack and talk about how ORPHANED LAND’s music was “breaking down barriers” between the religions and cultures of the Middle East, which seems to be a happy fantasy, if even desirable at all. Next was discussed an Indonesian band, MANRABUKKA, whose lyrics delve heavily into the Koran. A passage of the Koran, quoted by the band (Surat Al-Kafirun, “The Unbelievers”): “I do not worship what you worship. Nor are you worshippers of what I worship… For you is your religion, and for me is my religion”, evoked the religion-rejecting lyricism of bands like MORBID ANGEL and DEICIDE, but also that such advice is poorly-followed in those areas of the world torn by dogmatic conflicts. However Mr. Boyarin somehow brought the conclusion back around to “breaking down barriers”. I would recommend developing some new conclusions and exploring these interesting ideas further!
Next was Addison Herron-Wheeler of Naropa University, who read passages from her book “Wicked Woman: Women in Metal From the 1960s to Now”. The cynics among us may sigh in expectation of the women-as-oppressed-victims narrative that is popular these days, but as her reading mainly dealt with the singer of the 60s occult pop-rock band Coven, musically far distant from metal, I zoned out during this portion and can’t report much. If women in metal are going to be discussed as a separate topic, the most deserving individual may be the fascinating Lori Bravo of NUCLEAR DEATH, who has hitherto been mostly ignored.
Next was a presentation by Dolev Zaharony of Israel. Mr. Zaharony discussed the history of metal music in Israel and how the government/media, ever-paranoid and faced with the difficult task of molding the mixed population of young Israel into a single culture, filtered out all references to heavy metal, and one assumes much else. Mr. Zaharony spoke as one who had been passionate about metal since his teens and had lived through many phases of metal culture in Israel, as well as been a musician. This presentation was enjoyable as he spoke informatively, without any attempt to politicize.
Finally was a viewing of clips from the documentary “Distorted Island”, which focuses on the heavy metal scene of Puerto Rico. This was at times interesting and at times irritating when the documentary attempted to impose narratives on the music, for example highlighting a band because they are all female (though the music sounded pretty awful), and thus an example of triumph against the sexist metal scene. This method is currently trendy in musical documentaries, and one of the many problems with it is that filmmakers end up focusing on mediocre bands at the expense of excellent ones, if the mediocre bands better fit the narrative.
This is a problem common to analyses of metal which prioritize social aspects over the music itself: they lose sight of the reason why the social scene arose in the first place – to celebrate and appreciate the MUSIC, its power and its ethos. Once any other element of the culture is made primary, the goal is lost and the music will become merely an accessory, and necessarily devolve in quality. This same effect can be seen with the hipsters who use metal aesthetic to dress up boring indie-rock, to the collectors who obsess over obscure releases that were forgotten due to their middling quality.
In the spirit of culling the mediocre, Charlotte Naylor Davis and Dolev Zaharony were the only two I witnessed whose presentations passed the bar of quality, knowledge, and true enthusiasm; as well as being free of political propaganda. I would recommend them for any future conferences. Note however the limited sampling which I was able to attend; there may have been other hidden gems.
For 20+ years, first with the Dark Legions Archive and next with the Death Metal Underground, the writers behind this site have encouraged comparison with heavy metal and two things: European Romanticism in art, music, and literature; and European classical music, which overlapped with Romanticism both in a specific time period and in themes it revisits even to this day. The similarities are abundant and apparent but offensive to those who want to believe the blues-rock spectrum was part of an authentic tradition, when in fact it was a commercial product simplifying earlier styles, and that — of course — metalheads cannot have any associations more profound than the sacred indie rock and its origins in 1960s protest music.
Now, others are taking up the call. Perfect Sound Forever, one of the oldest e-zines on the net, addresses the metal-classical linkage in an article in its current edition:
I’m here to show you that rock and roll and classical are very much relatives in an, albeit, diverse musical family. First off, the sort of person who enjoys classical music is the same sort of person who would enjoy metal or heavy rock music. Research by scientists at Heriot-Watt University has found that not only are peoples’ personalities linked to their taste in music – classical and heavy metal listeners often have very similar dispositions.
“The general public has held a stereotype of heavy metal fans being suicidally depressed and a danger to themselves and society in general,” explained Adrian North, the professor who led the study. “But they are quite delicate things. Metal fans, like classical listeners, tend to be creative, gentle people, at ease with themselves. We think the answer is that both types of music, classical and heavy metal, have something of the spiritual about them — they’re very dramatic — a lot happens. ”
Perhaps more will be known about not only the similarities between these genres, but — because every cause has an effect — what similar ideas or emotions motivated artists to make such similar music centuries apart.
Where previous studies have shown that heavy metal fans are smarter than some thought, newer research suggests they are more well-adjusted too. According to the original study, heavy metal fans have happier times of youth and end up as “better adjusted” adults as well.
The authors of the study give several reasons for this, notably that heavy metal fans have a stronger support group than most other types of teenager and that having an identity protected them against getting lost in the ego-death of adolescent anonymity, but the study might look at another factor: heavy metal is dedicated to reality and against authority for its own sake. This keeps teenagers away from the manipulations of others and simultaneously point them toward the only thing that ultimately makes any person well-adjusted, which is a strong outer realism and thriving “inner self” or core of personality adapted to that realism.
The study did hit a dark note regarding survivorship bias however:
The research comes with a caveat: The study featured “relatively high functioning individuals who volunteered to participate and report on their lives.” If some people really were so drawn into a dark lifestyle that they became drug addicts or suicide victims, they’d obviously not be around decades later to take an hour-long survey.
In other words, because metalheads pursue life to its extremes, the only metalheads left today to report these positive results are the ones who did not self-destruct during their youth. One might be able to get the same results from a group of octogenarian heroin addicts. However, study results also showed that fans from other genres faced similar struggles but did not have as positive of results.
With the above in mind, as well as the inherent musicality and artistry of the music, it is no wonder that heavy metal attracts the most loyal audience. This recent research helps obliterate past shoddy research seemingly designed to malign heavy metal and defame its fans.
This may be the coolest job title ever: Heavy Metal Consultant. Vocalist Bruce Corbitt, of Rigor Mortis and Warbeast fame, has been appointed by the Texas Musicians Museum as its expert on all things heavy metal. The Museum, which is awaiting construction of its new facility at 222 E. Irving Blvd in Irving/Dallas metroplex, issued the following statement:
The Texas Musicians Museum is proud to announce that the talented Texas musician Bruce Corbitt will be assisting us as our Heavy Metal consultant.
Since the early/mid eighties, vocalist Bruce Corbitt has been in the midst of creating Texas Metal music that won’t be forgotten anytime soon. From his days in the legendary Rigor Mortis to his current band Warbeast, he has truly given us his all and made his mark on the history of Texas music. The self-titled debut Rigor Mortis album was inducted into the Decibel Magazine “Metal Album Hall Of Fame” in 2013. Both Warbeast full-length albums “Krush The Enemy” and “Destroy” have also received end-of-the-year honors by numerous metal magazines and metal news websites. Bruce also has the distinguished honor of being the only vocalist to win a Dallas Observer Award in the category for “Best Metal Band” with two different bands… twice with Rigor Mortis and once with Warbeast.
Corbitt sent out a request to all metal fans for Texas Metal Memorabilia and contact information as follows:
My first step is assembling my own panel of Texas Metal Legends and Gurus. To help me make sure we do this the way it should be done. I am very familiar with the history of Texas Metal since the beginning. But I obviously don’t know the entire history of every region as good as I do D/FW. So I have already reached out to many Texas Metal historians that I want to be part of this team/panel. Such as Jason McMaster, John Perez, Rick Perry, Rodney Dunsmore, Carcass John Fossum… and I will reach out to more for other areas. Between us all… we will brainstorm and come up with the best gameplan to do this the way it should be done.
The Museum itself will be 8,500 square feet and it will have an outdoor event area that can also have live music. Yes we will have some Texas Metal bands playing on some of these events too.
Ok… so obviously one of our main goals is to start collecting actual donations for the museum itself. So we will be starting a huge Texas Metal Memorabilia hunt for the bands and musicians that we want to include. I’m sure that I will be listing the bands as musicians soon enough that we want to induct into the museum… but it is common sense to many of you who some our legendary Texas Metal Bands are… but just to name a few Pantera, Rigor Mortis, Helstar, WatchTower, Devastation, Absu, Big Iron, Drowning Pool, The Sword, Gammacide, Deadhorse, Angkor Wat, Aska, Warlock, Militia, Solitude Aeturnus, Prophecy, Sedition, Devourment, Rotting Corpse and we are just getting started on the possibilities.
So for now… until we get further along and I make more announcements. If you have anything like historic Texas Metal memorabilia… or any ideas for bands or musicians you think should be included, or any other suggestions you think would be beneficial to our cause…
please contact me at email@example.com
This now gives Texas two metal archives for the history and theory behind heavy metal and associated genres. The other, to which users of this site have been mailing metal artifacts for over eight years, is at the University of Texas at Austin:
Dr. David Hunter
Music Librarian and Curator, Historical Music Recordings Collection
Fine Arts Library (DFA 3.200)
University of Texas Libraries
1 University Station (S5437)
Austin, TX 78712
Office: (512) 495-4475
Fax: (512) 495-4490
Library: (512) 495-4481
It is great to see metal ignored by the Rock and Roll Hall of Fame and accepted by these independent but reputable authorities who are studying metal through its personalities and source documents like recordings, flyers, zines, letters and posters.
The Metal and Cultural Impact (MACI) conference launches its inaugural meeting on the topic of “Metal’s Role in the 21st Century” in Dayton, OH from November 6-8, 2014. This conference features a number of metal academics of note discussing the effect metal has on the society around it through culture.
Described by its organizers as aimed to “examine Metal culture’s role in 21st century society throughout the world,” the conference consists of presentations by academics such as Amber Clifford-Napoleone, Nelson Varas-Diaz, , Vivek Venkatesh, Ross Hagen and Brian Hickam. In addition, after-conference events include a screening of March of the Gods which explores the metal scene in the African nation of Bostwana through the story the band Wrust and an art exhibit on the nature of masks in metal hosted by Brian Hickam.
The University of Dayton Department of English, the Graul Chair in Arts and Languages, and the International Society of Metal Music Studies are the primary sponsors of the conference. It winds up with an evening concert featuring local bands chosen by Alex Skolnick (Testament, Savatage), who also presents a panel on “Louder Education” at the conference. Ticket proceeds benefit two charities, the Ronnie James Dio Stand Up and Shout Cancer Fund and Project READ.
Metal took its time to be accepted by social institutions. At the outset, metal appeared to most as another variety of rock. But with NWOBHM it distinguished itself and then went underground with speed metal. During those years, society rejected metal first for its repugnance to conservative moral ideals, and next for its alienation of liberal social ideals. It thus made itself friendless in a time where having political clout matters.
One reason for a lack of acceptance by some areas, such as the art world, is that metal is not controllable. As Bruce Dickenson (Iron Maiden) said in a recent interview:
The closest the “art establishment” ever came to embracing metal was punk. The reason they embraced punk was because it was rubbish and the reason they embraced rubbish was because they could control it. They could say: “Oh yeah, we’re punk so we can sneer at everybody. We can’t play our fucking instruments, but that means we can make out that this whole thing is some enormous performance art.” Half the kids that were in punk bands were laughing at the art establishment, going: “What a fucking bunch of tosspots. Thanks very much, give us the money and we’ll fuck off and stick it up our nose and shag birds.” But what they’d really love to be doing is being in a heavy metal band surrounded by porn stars.”
During the 1980s, Tipper Gore’s Parents Music Resource Center (PMRC) demanded warning stickers on music with content that advocated drugs, casual or perverse sex, violence and mayhem. Naturally this included most of heavy metal (sex) and most of speed metal (violence). Until rap music came along and blew those old standards out of the water by making most of heavy metal’s worst moments look tame, a real threat of economic censorship — forcing up the cost and legal risk of selling heavy metal, thus encouraging record stores to quit selling it — hovered over heavy metal.
Although the transition to online sales (1998) and resulting lack of control helped, another factor changed which put metal into hyperdrive as far as social acceptance: it found an audience in mainstream politics. As the Washington Post wrote in “Heavy Metal Gets Socially Conscious”:
More than three decades after Black Sabbath conjured images of the dark arts, heavy metal is growing up. The genre is increasingly incorporating social and political messages into its dense power chords.
The art world did not accept metal in the past because it could not be controlled. Neither did the moral world, nor the political world. Now metal has created a hybrid of itself — the indie rock, lite-jazz and grindcore infused postmodern metal genres — that is artistically acceptable, morally tame and politically acceptable. The question remains: does that mean that it is now controlled?
The journal Metal Music Studies put forth by the International Society for Metal Music Studies is now on sale at this location. Individual subscriptions are £36 per year. The journal aims to fulfill the following mission statement:
To provide an intellectual hub for the International Society of Metal Music Studies and a vehicle to promote the development of metal music studies;
To be the focus for research and theory in metal music studies – a multidisciplinary (and interdisciplinary) subject field that engages with a range of parent disciplines, including (but not limited to) sociology, musicology, humanities, cultural studies, geography, philosophy, psychology, history, natural sciences;
To publish high-quality, world-class research, theory and shorter articles that cross over from the industry and the scene;
To be a world leader in interdisciplinary studies and be a unique resource for metal music studies.