Heavy metal subculture

Last updated
Young metal fans. Metalhead Kids.jpg
Young metal fans.

Fans of heavy metal music, commonly referred to as "Metalheads", have created their own subculture that encompasses more than just appreciation of the style of music. Fans affirm their membership in the subculture or scene by attending metal concerts (an activity seen as central to the subculture), buying albums, growing their hair long (although some metalheads do wear their hair short; one very famous example is late 70s to 80s-era Rob Halford), wearing jackets or vests often made of denim and leather adorned with band patches and often studs, and by contributing to metal publications since the early 1980s. [1]

Contents

The metal scene, like the rock scene in general, is associated with alcohol, tobacco and drug use, as well as riding motorcycles and having many tattoos. While there are songs that celebrate drinking, smoking, drug use, gambling, having tattoos and partying, there are also many songs that warn about the dangers of those activities. The metal fan base was traditionally working class, white and male in the 1970s, [2] and since the 1980s, more female fans have developed an interest in the style. Metal culture has also grown more popular among African Americans and other groups in recent times. [3]

Nomenclature

Heavy metal fans go by a number of different names, including metalhead, [4] headbanger, [5] hesher, mosher, and thrasher, [6] being used only for fans of thrash metal, which began to differentiate itself from other varieties of metal in the late 80s. While the aforementioned labels vary in time and regional divisions, headbanger and metalhead are universally accepted to mean fans or the subculture itself.

Subculture

Black Sabbath are one of the biggest pioneers of heavy metal and are often referred to as the first true metal band. Sabs.jpg
Black Sabbath are one of the biggest pioneers of heavy metal and are often referred to as the first true metal band.

Heavy metal fans have created a "subculture of alienation" with its own standards for achieving authenticity within the group. [9] Deena Weinstein's book Heavy Metal: The Music And Its Culture argues that heavy metal "has persisted far longer than most genres of rock music" due to the growth of an intense "subculture which identified with the music." Metal fans formed an "exclusionary youth community" that was "distinctive and marginalized from the mainstream" society. [10] The heavy metal scene developed a strongly masculine "community with shared values, norms, and behaviors." A "code of authenticity" is central to the heavy metal subculture; this code requires bands to have a "disinterest in commercial appeal" and radio hits as well as a refusal to "sell out." [10] The metal code also includes "opposition to established authority, and separateness from the rest of society." Fans expect that the metal "vocation [for performers] includes total devotion to the music and deep loyalty to the youth subculture that grew up around it;" a metal performer must be an "idealized representative of the subculture." [10]

While the audience for metal is mainly "white, male, lower/middle class youth," this group is "tolerant of those outside its core demographic base who follow its codes of dress, appearance, and behavior." [10] The activities in the metal subculture include the ritual of attending concerts, buying albums, and most recently, contributing to metal websites. Attending concerts affirms the solidarity of the subculture, as it is one of the ritual activities by which fans celebrate their music. [11] Metal magazines help the members of the subculture to connect, find information and evaluations of bands and albums, and "express their solidarity." [11] The long hair, leather jackets, and band patches of heavy metal fashion help encourage a sense of identification within the subculture. However, Weinstein notes that not all metal fans are "visible members" of the heavy metal subculture. Some metal fans may have short hair and dress in regular clothes.

Authenticity

A metalhead wearing a Metallica shirt at a concert. Metalhead2015.jpg
A metalhead wearing a Metallica shirt at a concert.

In the musical subcultures of heavy metal and punk, authenticity is a core value. The term poseur (or poser) is used to describe "a person who habitually pretends to be something he/she is not," [12] as in adopting the appearance and clothing style of the metal scene without truly understanding the culture and its music. 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. [13] 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." [14]

Heavy metal fans began using the term sell out in the 1980s to refer to bands who turned their heavy metal sound into radio-friendly rock music (e.g., glam metal). In metal, a sell out is "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." [15]

Ron Quintana's article on "Metallica['s] Early History" argues that when Metallica was trying to find a place in the L.A. 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." [16] 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." [17]

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 Limp Bizkit." Wood claims that the "true [metal] devotee’s path to metaldom is perilous and fraught with poseurs." [18] Christian metal bands are sometimes criticized within metal circles in a similar light. Some extreme metal adherents argue that Christian bands' adherence to the Christian church is an indicator of membership in an established authority, which renders Christian bands as "posers" and a contradiction to heavy metal's purpose. [19] Some proponents argue personal faith in right-hand path beliefs should not be tolerated within metal. [20] A small number of Norwegian black metal bands have threatened violence (and, in extremely rare instances, exhibited it) towards Christian artists or believers, as demonstrated in the early 1990s through occasional church arsons throughout Scandinavia. [19] [21]

Social aspects

Gestures and movements

Asphyx headbanging during a performance. AsphyxBand.jpg
Asphyx headbanging during a performance.

At concerts, in place of typical dancing, metal fans are more likely to mosh [22] and headbang ⁠(a movement in which the head is shaken up and down in time with the music). [23]

Fans in the heavy metal subculture often make the corna hand gesture formed by a fist with the index and little fingers extended. Also known as the "devil’s horns," the "metal fist," and other similar descriptors, [24] the gesture was popularized by heavy metal vocalists Ronnie James Dio and Ozzy Osbourne.

Alcohol and drug use

The heavy metal scene is associated with alcohol and drug use. [25] While there are heavy metal songs which celebrate alcohol or drug use (e.g., "Sweet Leaf" by Black Sabbath, which is about cannabis), there are many songs which warn about the dangers of alcohol and drug abuse and addiction. "Master of Puppets" by Metallica (which is about how drug abusers can end up being controlled by the drugs they use) and "Beyond the Realms of Death" by Judas Priest are two examples of songs that warn about such dangers.

Intolerance to other music

On a 1985 edition of Australian music television show Countdown , music critic Molly Meldrum spoke about intolerance to other music within the subculture, observing "sections who just love heavy metal, and they actually don't like anything else." [26] Queen frontman Freddie Mercury, a guest on the program, readily concurred with Meldrum's view, and opined that his comments were "very true". Directly addressing the resistance to alternate genres seen among certain heavy metal fans, Mercury asserted: "that's their problem". [26]

Interviewed in 2011, Sepultura frontman Derrick Green said: "I find that a lot of people can be very closed minded – they want to listen to metal and nothing else, but I'm not like that. I like doing metal music and having a heavy style, but I don't like to put myself in such a box and be trapped in it." [27] Also that year, Anthrax drummer Charlie Benante admitted that hardened members of the heavy metal subculture "are not the most open-minded people when it comes to music." [28]

Ultimate Guitar reported in 2013 that thrash metal fans had directed "hate" towards Megadeth for venturing into more rock-oriented musical territory on that year's Super Collider album. Singer Dave Mustaine stated that their hostility was informed by an unwillingness to accept other genres and had "nothing to do with Megadeth or the greatness of the band and its music"; he also argued that the labelling of music fans contributed to their inability to appreciate other types of music. [29] That same year Opeth frontman Mikael Åkerfeldt also alleged that most members of the subculture are resistant to the musical evolution of artists within the metal genre, stating that it "doesn't seem to be that important" to those listeners. He added: "I think most metal fans just want their Happy Meals served to them. They don't really want to know about what they're getting. For a while, I thought metal was a more open-minded thing but I was wrong." [30]

Journalists have written about the dismissive attitude of many metal fans. MetalReviews.com published a 2004 article entitled "The True, Real Metalhead: A Selective Intellect Or A Narrow-Minded Bastard?", wherein the writer confessed to being "truly bothered by the narrow-mindedness of a lot of [his] metal brothers and sisters". [31] Critic Ryan Howe, in a 2013 piece for Sound and Motion magazine, penned an open letter to British metal fans, many of whom had expressed disgust about Avenged Sevenfold – whose music they deemed too light to qualify as metal – being booked to headline the 2014 installment of popular metal event the Download Festival. Howe described the detractors as "narrow minded" and challenged them to attend the Avenged Sevenfold set and "be prepared to have [their] opinions changed." [32]

Despite widespread lack of appreciation of other music genres, some fans and musicians can profess a deep devotion to genres that often have nothing to do with metal music. For instance, Fenriz of Darkthrone is also known to be a techno DJ, [33] and Metallica's Kirk Hammett is seen wearing a T-shirt of post-punk band The Sisters of Mercy in the music video for "Wherever I May Roam". [34] Tourniquet band leader Ted Kirkpatrick is a "great admirer of the classical masters". [35]

Some metal fans are also fond of punk rock, most notably the hardcore punk scene which helped inspire the extreme metal subgenres and even fusion genres such as crossover thrash, grindcore and the New York hardcore scene.

The term metal elitist is sometimes used by heavy metal fans and musicians to differentiate members of the subculture who display insulated, exclusionary or rigid attitudes from ostensibly more open-minded ones. [36] [37] [38] Elitist attitudes are particularly associated with fans and musicians of the black metal subgenre. [39] Characteristics described as distinguishing metal elitists or "nerds" from other fans of metal music include "constant one-upping," "endless pedantry" and hesitancy to "go against the metal orthodoxy." [40] While the term "metal elitism" is usually used pejoratively, elitism is occasionally defended by members of the subculture as a means of keeping the metal genre insulated, in order to prevent it from selling out. [41]

Heavy metal is also known for its large quantity of fusion subgenres including nu metal, folk metal and symphonic metal - contradicting the notion of metal as an isolated musical genre. Many popular groups within the genre are also fusion-music acts not represented by any larger subgenre, such as Skindred and Matanza.

Attire

Rob Halford of Judas Priest wearing studded leather jacket PriestScorpionsNEC 017 Halford.jpg
Rob Halford of Judas Priest wearing studded leather jacket
A man wearing a denim jacket with band patches and artwork of metal bands including Metallica, Guns N' Roses, Iron Maiden, Slipknot and Led Zeppelin HeavyMetalJckt.jpg
A man wearing a denim jacket with band patches and artwork of metal bands including Metallica, Guns N' Roses, Iron Maiden, Slipknot and Led Zeppelin

Another aspect of heavy metal culture is its fashion. Like the metal music, these fashions have changed over the decades, while keeping some core elements. 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, worn with a sleeveless kutte of denim or leather emblazoned with woven patches and button pins from heavy metal bands. Sometimes, a denim vest, emblazoned with album art "knits" (cloth patches) would be worn over a long-sleeved leather jacket. As with other musical subcultures of the era, such as punks, this jacket and its emblems and logos helped the wearer to announce their interests. Metal fans often wear T-shirts with the emblem of bands.

Around the mid-2000s, a renaissance of younger audiences became interested in 1980s metal, and the rise of newer bands embracing older fashion ideals led to a more 1980s-esque style of dress. Some of the new audience are young, urban hipsters who had "previously fetishized metal from a distance". [42]

International variations

Heavy metal fans can be found in virtually every country in the world. Even in orthodox Muslim countries of the Arab World, a small 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." [43] [44] Heavy metal fans in Arab countries have formed their own specific metal cultures, with movements such as Taqwacore.

Examples in fiction

Heavy metal subculture appears in works of fiction, mostly adult cartoons, and 1980s and 1990s live action movies.

Related Research Articles

Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom and United States. With roots in blues rock, psychedelic rock and acid rock, heavy metal bands developed a thick, monumental sound characterized by distorted guitars, extended guitar solos, emphatic beats and loudness.

<span class="mw-page-title-main">Punk subculture</span> Anti-establishment subculture

The punk subculture includes a diverse and widely known array of ideologies, fashion, and other forms of expression, visual art, dance, literature, and film. Largely characterised by anti-establishment views, the promotion of individual freedom, and the DIY ethics, the culture originated from punk rock.

Thrash metal is an extreme subgenre of heavy metal music characterized by its overall aggression and fast tempo. The songs usually use fast percussive beats and low-register guitar riffs, overlaid with shredding-style lead guitar work. The lyrical subject matter often includes criticism of The Establishment, opposition to armed conflicts, and at times shares a disdain for the Christian religion with that of black metal. The language is typically direct and denunciatory, an approach borrowed from hardcore punk.

<i>Kill Em All</i> 1983 studio album by Metallica

Kill 'Em All is the debut studio album by the American heavy metal band Metallica, released on July 25, 1983, through the independent label Megaforce Records. After forming in 1981, Metallica began by playing shows in local clubs in Los Angeles. They recorded several demos to gain attention from club owners and eventually relocated to San Francisco to secure the services of bassist Cliff Burton. The group's No Life 'til Leather demo tape (1982) was noticed by Megaforce label head Jon Zazula, who signed them and provided a budget of $15,000 for recording. The album was recorded in May with producer Paul Curcio at the Music America Studios in Rochester, New York. It was originally intended to be titled Metal Up Your Ass, with cover art featuring a hand clutching a dagger emerging from a toilet bowl. Zazula convinced the band to change the name because distributors feared that releasing an album with such an offensive title and artwork would diminish its chances of commercial success.

The new wave of British heavy metal was a nationwide musical movement that started in England in the mid-1970s and achieved international attention by the early 1980s. Editor Alan Lewis coined the term for an article by Geoff Barton in a May 1979 issue of the British music newspaper Sounds to describe the emergence of new heavy metal bands in the mid to late 1970s, during the period of punk rock's decline and the dominance of new wave music.

Christian metal, also known as white metal, Jesus metal or heavenly metal, is heavy metal music distinguished by its Christian themed song lyrics and the dedication of the band members to Christianity. Christian metal is typically performed by professed Christians, principally for Christians and is often produced and distributed through various Christian networks.

<span class="mw-page-title-main">Heavy metal fashion</span> Performer and fan worn attire as representing heavy metal music

Heavy metal fashion is the style of dress, body modification, make-up, hairstyle, and so on, taken on by fans of heavy metal, or, as they are often called, metalheads or headbangers. While the style has changed from the 1970s to the 2020s, certain key elements have remained constant, such as black clothes, long hair and leather jackets. In the 1980s, some bands began wearing spandex. Other attire includes denim or leather vests or jackets with band patches and logos, t-shirts with band names, and spiked wristbands.

Extreme metal is a loosely defined umbrella term for a number of related heavy metal music subgenres that have developed since the early 1980s. It has been defined as a "cluster of metal subgenres characterized by sonic, verbal, and visual transgression".

<i>Metal: A Headbangers Journey</i> 2005 film by Sam Dunn

Metal: A Headbanger's Journey is a 2005 documentary film directed by Sam Dunn with Scot McFadyen and Jessica Wise. The film follows 31-year-old Dunn, a Canadian anthropologist, who has been a heavy metal fan since the age of 12. Dunn sets out across the world to uncover the various opinions on heavy metal music, including its origins, culture, controversy, and the reasons it is loved by so many people. The film made its debut at the 2005 Toronto International Film Festival, and was released as a two-disc special edition DVD in the US on 19 September 2006.

<span class="mw-page-title-main">Screaming (music)</span> Vocal technique used in music

Screaming is an extended vocal technique that is popular in "aggressive" music genres such as heavy metal, punk rock, and noise music and others. It is common in the more extreme subgenres of heavy metal, such as death and black metal as well as many other subgenres.

<span class="mw-page-title-main">Pushead</span> American graphic artist

Brian Schroeder, better known as Pushead, is an American graphic artist. He is best known for his album covers and other merchandise for bands in the hardcore punk and heavy metal genres.

<span class="mw-page-title-main">Poseur</span> Someone who poses for effect

A poseur is someone who poses for effect, or behaves affectedly, who affects a particular attitude, character or manner to impress others, or who pretends to belong to a particular group. A poseur may be a person who pretends to be what they are not or an insincere person; they may have a flair for drama or behave as if they are onstage in daily life.

<span class="mw-page-title-main">Scot McFadyen</span> Canadian film director and producer

Scot McFadyen is a Canadian film director, producer and music supervisor whose work focuses on the subculture of heavy metal. He co-owns Toronto-based production company Banger Films with Sam Dunn.

Deena Weinstein is a professor of sociology at DePaul University whose research focuses on popular culture. She is particularly well known for her research on heavy metal culture, on which subject she wrote a ground-breaking book, Heavy Metal: A Cultural Sociology (1991), later published in a revised and updated version as Heavy Metal: The Music and Its Culture (2009).

<span class="mw-page-title-main">African heavy metal</span> Heavy metal music scene in Africa

African heavy metal refers to the heavy metal music scene in Africa, particularly in East African countries such as Kenya and Uganda, and Southern African countries including Namibia, Madagascar, Angola, Botswana, South Africa, Mozambique, and Zimbabwe. It also extends into North African nations such as Algeria, Egypt, Libya, Morocco, and Tunisia, although bands in the North African region associate themselves more closely with the MENA region in terms of cultural and social consistencies. African heavy metal is characterized by the use of European and American metal genres, usually blended with traditional African instruments and musical styles, creating distinct regional differences.

<span class="mw-page-title-main">Heavy metal bass</span>

Heavy metal bass is the use of the bass guitar in the rock music genres of heavy metal and hard rock. The bassist is part of the rhythm section in a heavy metal band, along with the drummer, rhythm guitarist and, in some bands, a keyboard player. The prominent role of the bass is key to the metal sound, and the interplay of bass and distorted electric guitar is a central element of metal. The bass guitar provides the low-end sound crucial to making the music "heavy". The bass plays a crucial role in heavy metal and a more important role than in traditional rock."

<span class="mw-page-title-main">Heavy metal lyrics</span> Themes and social perceptions of the words in heavy metal music

Heavy metal lyrics are the words used in songs by heavy metal artists. Given that there are many genres of heavy metal, it is difficult to make generalizations about the lyrics and lyrical themes. In 1989, two metal scholars wrote that heavy metal lyrics concentrate "on dark and depressing subject matter to an extent hitherto unprecedented" in any form of popular music. Jeffrey Arnett states that metal songs are "overwhelmingly dominated" by "ugly and unhappy" themes which express "no hope" for the future.

<span class="mw-page-title-main">Heavy metal drumming</span>

Heavy metal drumming is a style of rock music drum kit playing that developed in the late 1960s and early 1970s, largely in the United States and the United Kingdom. With roots in blues rock and psychedelic/acid rock drum playing, heavy metal drummers play with emphatic beats, and overall loudness using an aggressive performing style. Heavy metal drumming is traditionally characterized by emphatic rhythms and dense bass guitar-and-drum sound.

<span class="mw-page-title-main">Biker metal</span> Musical genre

Biker metal is a fusion genre that combines elements of punk rock, heavy metal, rock and roll and blues, that was pioneered in the late-1970s to early-1980s in England and the United States, by Motörhead, Plasmatics, Anti-Nowhere League and Girlschool.

References

  1. ↑ Heavy Metal: The Music And Its Culture, Revised Edition by Deena Weinstein Da Capo Press; Revised edition (April 4, 2000) ISBN   0-306-80970-2 ISBN   978-0-306-80970-5. Page 294.
  2. ↑ Bennett, Andy (2001). "Heavy Metal". Cultures Of Popular Music. McGraw-Hill Education. pp. 44–45. ISBN   9780335202508 . Retrieved 2022-02-05.
  3. ↑ "10 African-Americans Slaying In Metal Today". metalinjection.net. 2016-02-12.
  4. ↑ "Metalhead - Definition and More from the Free Merriam-Webster Dictionary". Merriam-webster.com. 2012-08-31. Retrieved 2014-05-19.
  5. ↑ "Headbanger - Definition and More from the Free Merriam-Webster Dictionary". Merriam-webster.com. 2012-08-31. Retrieved 2014-05-19.
  6. ↑ "Cleveland - Music - Talkin' Thrash". 2007-08-10. Archived from the original on November 10, 2007. Retrieved 2014-05-19.
  7. ↑ Elflein, Dietmar (2017). "Iron and Steel: Forging Heavy Metal's Song Structures or the Impact of Black Sabbath and Judas Priest on Metal's Musical Language". In Brown, Andy R.; Kahn-Harris, Keith; Scott, Niall; Spracklen, Karl (eds.). Global Metal Music and Culture: Current Directions in Metal Studies. London: Routledge. pp. 35–42. ISBN   9781138062597.
  8. ↑ Hartmann, Graham (30 January 2017). "11 Seriously Heavy Songs From Before Metal Existed". Loudwire. Retrieved 2021-11-02.
  9. ↑ "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
  10. 1 2 3 4 Heavy Metal: The Music And Its Culture, Revised Edition by Deena Weinstein Da Capo Press; Revised edition (April 4, 2000), ISBN   0-306-80970-2 ISBN   978-0-306-80970-5
  11. 1 2 Heavy Metal: The Music And Its Culture, Revised Edition by Deena Weinstein Da Capo Press; Revised edition (April 4, 2000) ISBN   0-306-80970-2 ISBN   978-0-306-80970-5
  12. ↑ "Definition of scotch, forgo, temporize, simulate". English-test.net. Retrieved 2014-05-19.
  13. ↑ "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.
  14. ↑ Metalheads: Heavy Metal Music and Adolescent Alienation - by Jeffrey Jensen Arnett - 1996 - Music - 196 pages.
  15. ↑ "Opinions: Twilit Idols: Orthodoxy in Metal, Selling out and Rejection of Poseurs in a Quest for Genre Differentiation". Archived from the original on December 23, 2008. Retrieved February 4, 2016.
  16. ↑ "JoyZine - Interview with Metallica by Ron Quintana". Artistwd.com. 1982-03-14. Retrieved 2014-05-19.
  17. ↑ "CoC : Ritual Carnage : Interview : 2/13/1999". Chroniclesofchaos.com. Retrieved 2014-05-19.
  18. ↑ "FFWD Weekly - November 7, 2002". Archived from the original on February 13, 2012. Retrieved February 4, 2016.
  19. 1 2 Khan-Harris, Keith. Extreme Metal: Music and Culture on the Edge. Oxford: Berg, 2006. ISBN   978-1-84520-399-3
  20. ↑ Norsk Black Metal (2003). Norwegian Broadcasting Corporation.
  21. ↑ Grude, Torstein (1998). Satan Rides The Media.
  22. ↑ Robin Pogrebin (9 May 1996). "Hard-Core Threat to Health: Moshing at Rock Concerts". New York Times. Retrieved 2014-05-19.
  23. ↑ "Headbang definition - Dictionary - MSN Encarta". Archived from the original on April 23, 2010. Retrieved December 8, 2010.
  24. ↑ "The Devil's Horns: A Rock And Roll Symbol | Guitar Columns @". Ultimate-guitar.com. Retrieved 2014-05-19.
  25. ↑ http://arrow.dit.ie/cgi/viewcontent.cgi?article=1054&context=buschmarcon [ bare URL PDF ]
  26. 1 2 Meldrum, Molly (5 May 1985). Countdown . Melbourne. Australian Broadcasting Corporation.
  27. ↑ "Exclusive – Sepultura Interview". Rushonrock.Com. 2011-07-18. Retrieved 2014-05-19.
  28. ↑ Coe, Matt (21 September 2011). "Anthrax - Worshipping Metal Legacy". Eternal Terror. Retrieved 25 September 2013.
  29. ↑ "Dave Mustaine: 'Thrash Metal Fans Don't Want to Accept Rock'". Ultimate Guitar Archive . 3 July 2013. Retrieved 25 September 2013.
  30. ↑ "OPETH Frontman Thinks Metal Fans Are Close-Minded". Metal Injection. 21 November 2013. Retrieved 2014-05-19.
  31. ↑ "Editorial - The True, Real Metalhead: A Selective Intellect Or A Narrow - Minded Bastard?". Metalreviews.com. 2004-01-24. Retrieved 2014-05-19.
  32. ↑ "An Open Letter to UK Metal Fans Regarding Avenged Sevenfold | Sound And Motion". Soundandmotionmag.com. 2013-11-04. Archived from the original on 2014-01-08. Retrieved 2014-05-19.
  33. ↑ Hughes, Dylan (2012-03-13). "A Fist in the Face of God Presents... DJ Fenriz' Dance Mix | VICE Canada". Vice.com. Retrieved 2014-05-19.
  34. ↑ "Metallica - Wherever I May Roam [Official Music Video]". YouTube. 1992-05-21. Retrieved 2014-05-19.
  35. ↑ "Ted Kirkpatrick Bio". Tourniquet.net. Retrieved 2014-05-19.
  36. ↑ "BUTCHER BABIES' HEIDI SHEPHERD Feels 'Shunned' By 'Metal Elitists'". Blabbermouth.net. 18 November 2015. Retrieved 2016-02-12.
  37. ↑ "Elitists Are Killing The Heavy Metal Genre?". Metal Underground.com. Retrieved 2016-02-12.
  38. ↑ "Things Elitist Metal Fans Say". MetalSucks. 18 February 2015. Retrieved 2016-02-12.
  39. ↑ "Why Are Black Metal Fans Such Elitist Assholes?". Noisey. 21 January 2014. Retrieved 2016-02-12.
  40. ↑ "ARE YOU AN INTERNET METAL NERD? I'M HERE TO HELP!". MetalSucks. 12 September 2011. Retrieved 2016-02-12.
  41. ↑ "In defense of elitism". Death Metal Underground. Retrieved 2016-02-12.
  42. ↑ Stosuy, Brandon (2005-08-19). "Heavy metal for hipsters". Slate.com. Retrieved 2014-05-19.
  43. ↑ "Moroccan heavy metal fans jailed". BBC News. 7 March 2003. Archived from the original on 14 March 2003. Retrieved 29 October 2023.
  44. ↑ Tremlett, Giles (11 March 2003). "Moroccan judge jails metalheads". The Guardian. Archived from the original on 27 August 2013. Retrieved 29 October 2023.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.