Delehoy 1
Dylan Delehoy
Kathryn Hulings
CO150-002
6 May 2013
Assignment 4
From the first time I ever heard heavy metal, I was instantly drawn to it. I fell in love with the powerful music and aggressive tone—it was like nothing I had ever heard before. I grew up in a Christian family with two loving parents that cared about me. They were quite shocked when they discovered the genre of music I had begun to listen to, and while they had showed nothing but acceptance towards me before, I felt a strong opposition from them on the subject of my music. I heard from them how it was evil, violent, disturbed, vulgar, etc.; basically, my parents drew upon all of the information about heavy metal that gets sensationalized in the news. My parents always recognized and made me feel that I was intelligent, trustworthy, and had good judgment, but I could not understand why they made me feel the opposite with all of their scrutiny and criticisms about my music. It took me years to finally converse with them on the subject, and once I had a chance to explain everything about what heavy metal is, their outlook changed drastically. I feel like it greatly helped our relationship as well as made me feel more accepted versus feeling ostracized because of my choice of expression.[K1]Parents’ concern about their children listening to heavy metal music is completely justified; however, I encourage them to open a conversation with their children instead of scrutinizing them on the issue. [K2]There is much more beneath the surface of heavy metal that teens are drawn to. Whereas parents may see heavy metal as evil, violent, shocking music, teens connect with it on a much more emotional and intellectual level. Heavy metal music is a healthy form of expression for adolescents; by educating themselves on the themes of heavy metal and its function for teens, parents will be able to communicate with their kids to gain a deeper understanding and foster a stronger, more accepting relationship.[K3]
To understand heavy metal music as a form of expression, parents must first understand the lyrical content of contemporary metal.[K4]Heavy metal has always been sensationalized by the media with accusations of promoting violence, aggression, suicide, and drug abuse. At the front of the opposition to heavy metal music was the Parents’ Music Resource Center established in 1985. In Professor Robert Walser’s Running With the Devil: Power Gender and Madness in Heavy Metal Music, published in 1993, he states that the head of the PMRC, Tipper Gore, relied on a pamphlet written by professor of music Joe Stuessy (139). Walser quotes Stuessy’s “The Heavy Metal User’sManual,” saying that metal promotes “‘…extreme rebellion, extreme violence, substance abuse, sexual promiscuity/perversion (including homosexuality, bisexuality, sadomasochism, necrophilia, etc.), Satanism’” (139). [K5]With quite a shocking list of themes, it is no wonder that there is such a backlash from parents towards heavy metal music. The fact is, however, that this is a gross misinterpretation of lyrics of heavy metal songs. As Walser points out, the majority of metal songs are not written about these themes, and when these kinds of lyrics do appear, they are often part of a much larger context with an altogether different meaning (139). During the PMRC’s congressional hearings in 1985, Twisted Sister’s lead vocalist and songwriter Dee Snider testified in defense of his songs being cited by the PMRC as having violent, sexual, sadomasochistic lyrics. The song in question was Twisted Sister’s “Under the Blade,” which, in fact, was written about the fear accompanying a surgical procedure; Snider stated that Gore had taken all of the lines out of context, out of order, and even misquoted a line from the chorus to make her claim (Snider). Snider sums up the attacks on his music by stating that, as the songwriter, “the only sadomasochism, bondage, and rape in this song is in the mind of Ms. Gore” (Snider).This, along with many other cases completely discredits claims made by organizations such as the PMRC; however, these are the themes that many popular media outlets seem to latch on to in order to fuel the negative image they associate with heavy metal.
The real themes of heavy metal are often hidden under the surface of an abrasive, and quite often, aggressive presentation.[K6]In “Broken and Becoming God-Sized: Contemporary Metal Music and Masculine Individualism,” published in the journal Symbolic Interaction in 2006,author and professor of sociology Adam Rafalovich analyzes common themes in contemporary heavy metal. He states that individualism was commonly expressed across almost all contemporary bands (22). While many songs also focus on a feeling of helplessness and despair, defined by Rafalovich as “the broken self,” they are paired with songs written about “…the conquering of others and the cultivation of inner strength” (26). This is the context of metal songs which most media outlets tend to omit from their reports; the overall positive message expressed by these bands is overlooked while the spotlight is focused on the negative songs. In the paper “Music Preferences, Personality Style, and Developmental Issues of Adolescents,” published in The Journal of Youth Ministries in 2004, psychologist Kelly Schwartz[K7]analyzes how teens relate to the lyrical themes found in heavy metal music. She asserts that teens find comfort for the struggles of adolescence because metal music “tells them they are not alone in this developmental task, gives them a refuge for validating their confusions about identity, and provides a safe context for beginning to explore and organize a sense of self” (57). [K8]These are the themes that teens are able to relate with so well. It is not at all uncommon for one to face hardships or struggles, especially during adolescence.Heavy metal, overall, fosters a positive outlook and reaction towards the struggles of adolescence[K9].
Historian Leigh Harrison analyzes the birth of heavy metal in his academic paper “Factory Music: How the Industrial Geography and Working-Class Environment of Post-War Birmingham Fostered the Birth of Heavy Metal,” published in the Journal of Social Historyin 2010, as a reaction to the popular hippie culture in the United States in an attempt to communicate their dismal upbringings in the industrial, post-war town of Birmingham, England (148). Metal, overall, is an opposition to the mainstream; it expresses a different view and a different form of expression to those who don’t identify with popular culture. Adolescence is a time when teens are searching for different forms of expression that they can better identify with.In an interview with singer/songwriter Phil Anselmo and guitarist Darrell Abbott of prolific heavy metal band Pantera, conducted in 1992 by Teresa Roncon and published by MuchMusic, Anselmo states that “…lyrically, we’re way more in touch than the average band” (Abbott). Many of these bands focus on fostering a deep connection to their fans through their lyrics. Anselmo also stresses the goal of making music that has staying power (Abbott); this means writing songs with significant substance that listeners will be able to relate to years in the future. It is not about just writing vulgar, evil lyrics—these bands make a considerable effort for their fans to be able to connect with the subject matter in their songs. Contrary to the beliefs held by popular media outlets, heavy metal music does not promote any violent, sexual, or other self destructive behavior. In an interview conducted by Bill O’Reilly for FOX News in 2001, heavy metal songwriter/vocalist Marilyn Manson was questioned on this issue. O’Reilly asked Manson if his songs promote any kind of suicidal behavior, and he answered saying that his songs “…talk about getting through feelings like that” (Manson). Overall, the themes found in heavy metal lyrics do not promote this kind of behavior at all; the media takes these themes grossly out of context, and it undermines what these artists are saying, and also what teens who listen to this music believe[K10].
A very common misconception pervaded by the mass media is that listening to heavy metal music causes psychological harm in adolescents. Walser points out how Ozzy Osbourne was sued under the charge that his song “Suicide Solution” inspired a 19 year old to commit suicide (147). As[K11] Walser continues to point out, the song was actually written with an anti-suicide and anti-drug use message (147). The fact is, heavy metal music does not cause these thoughts or feelings; teens that may have some issues tend to identify withthis kind of music. Schwartz points out how teens “…gravitate to particular kinds of music because they have particular personality characteristics, issues, and/or needs that are either reflected in the music they choose or that the music satisfies” (48). It is a harsh reality for parents that their child may be dealing with dark, or even dangerous, thoughts and feelings. This is the time when teens need to communicate, and parents need to step up and be there for their children. Scrutinizing their music, or even taking it away, will not make their feelings subside. Without a healthy outlet like heavy metal, many teens would be much worse off.Many parents, however, are quick to find scapegoats to blame as the influence on their children, and what better than the boisterous genre of music—heavy metal.[K12]Without a doubt, the most vicious backlash on heavy metal from mainstream society was that felt by Marilyn Manson following the Columbine High School shootings in Colorado in 1999. He became the poster boy for evil in heavy metal music, and many felt his lyrics were to blame. In Michael Moore’s Bowling for Columbine, a documentary about the tragic high school shooting, which aired in 2002, he interviewed Marilyn Manson on the issue. Moore asked Manson, “If you were to talk directly to the kids at Columbine… what would you say to them, if they here right now?” (Manson). Marilyn Manson replied “I wouldn't say a single word to them. I would listen to what they have to say. And that's what no one did” (Manson).
Parents’ worry about their teenagers is completely justified; however, their scrutiny is not. Adolescence is a hard enough time for kids without parents’ unjustified judgment about their forms of expression. It is nothing new for parents to be shocked at the younger generation’s forms of musical expression—it started in the jazz age, then Elvis Presley and rock and roll, The Beatles and the British Invasion, and more recently bands like Led Zeppelin and Black Sabbath, which is the music that most parents of teenagers probably grew up with. Instead of ostracizing their children for straying from mainstream culture, parents should communicate with their teens to understand what they are going through. In Moore’s interview with Manson, he talked about how “…music was the escape. It’s the only thing that had no judgments” (Manson). Teens are attracted to heavy metal music for a wide variety of reasons, but the prevailing theme is always the acceptance and understanding that heavy metal provides for adolescents’ emotions. Contrary to the beliefs of the PMRC, as expressed by Walser, that heavy metal music should be kept from youth listeners, or even be voluntarily censored by the artists (138), I believe heavy metal should be encouraged as a form of expression by parents. Through communication, parents can make sure that teens don’t misinterpret any lyrics or themes, and also create a deeper understanding of art and expression; parents may even learn a thing or two from their kids. Frank Zappa, accomplished rock musician and classical composer, stood before congress during the congressional PMRC hearings in 1985 and advocated for absolutely no restriction or censorship of music (Zappa). Senator Hawkins brought up the fact that Zappa was the father of four children and asked him whether or not he was in favor of the age appropriate stickers on children’s toys—the same types of stickers proposed by the committee to put on music albums. Zappa replied, “In a way I do, because that means that somebody in an office someplace is making a decision about how smart my child is” (Zappa). The goal should not be to suppress controversial or abrasivematerials like heavy metal; it should be every parent’s goal to foster emotional and intellectualgrowth within their children.
It is my hope that parents of teenagers will take into account all of the qualities of heavy metal as a form of expression before making their judgments about their kids. To understand what heavy metal music is all about, it is necessary to look under the abrasive, and somewhat shocking, exterior; the problem is that the popular media fails to do that and most parents of teenagers base their assumptions under the false pretenses that heavy metal is a complete negative influence on teens.With guidance from their parents to help understand the lyrical themes in heavy metal, there really isn’t anything controversial at all. This will lead to the development of enlightened children, and will prevent teenagers from taking any of the themes out of context. If a teenager is finding solace in metal music because of some sort of depression or negative feelings, the last thing they need is to feel ostracizedby their parents because of their form of expression. Even if a teenager without any problems is drawn to heavy metal music, a parent’s unwarranted scrutiny can lead to unwanted strife within the family relationship. Instead of dealing with their concern on this issue by attacking, or even forbidding, this form of expression, I urge parents to approach their teenagers and have an open conversation; this may mean discussing why they like listening to it, lyrical themes they are drawn to, or anything parents are concerned about. Through communication, parents will feel more comfortable about their teens listening to heavy metal music, and overall will help the relationship with their kids[K13].
Works Cited
Abbott, Darrell. Anselmo, Phil. Interview by Teresa Roncon. YouTube. MuchMusic,
1992. Web. 04 Apr. 2013.
Harrison, Leigh. “Factory Music: How the Industrial Geography and Working-Class
Environment of Post-War Birmingham Fostered the Birth of Heavy Metal.” Journal of Social History 44.1 (2010): 145-158. Academic Search Premier. Web. 31 March 2013.
Manson, Marilyn. Interviewed by Bill O’Reilly. YouTube. FOX News, 2001. Web. 23
Apr. 2013. Manson, Marilyn. Interviewed by Michael Moore. Bowling for Columbine. Dir. Michael Moore. United Artists, 2002. DVD.
Rafalovich, Adam. “Broken and Becoming God-Sized: Contemporary Metal Music and
Masculine Individualism.” Symbolic Interaction 1.29 (2006): 19-32. Academic Search Premier. Web. 29 Mar. 2013.
Schwartz, Kelly. “Music Preferences, Personality Style, and Developmental Issues of
Adolescents.”The Journal of Youth Ministries. 3.1. (2004): 47-64. Academic Search Premier. Web. 23Apr. 2013.
Snider, Dee. “Porn Rock.” Parents’ Music Resource Center. Capitol Hill, Washington
D.C. 19 Sept. 1985. Congressional Hearing.
Walser, Robert. Running With the Devil: Power Gender and Madness in Heavy Metal
Music. Hanover: University Press England, 1993. Print.
Zappa, Frank. “Porn Rock.” Parents’ Music Resource Center. Capitol Hill, Washington D.C. 19
Sept. 1985. Congressional Hearing.
Postscript
- My intended audience is parents of teenagers. My purpose was to get them to accept heavy metal as a form of expression for their kids. My thesis is “Heavy metal music is a healthy form of expression for adolescents; by educating themselves on the themes of heavy metal and its function for teens, parents will be able to communicate with their kids to gain a deeper understanding and foster a stronger, more accepting relationship.” This is a claim of value, and also kind of a statement of policy and solution. I refuted opposing arguments from the PMRC, a court case, and another professor. My supporting arguments were that the themes in heavy metal are positive, teens relate with heavy metal, and that communication should be the solution versus suppressing this music as a form of expression.
- I learned that I am very passionate about this issue. I usually do very well formulating an argument and writing my thoughts down, but on this issue I had trouble landing on one issue and gathering all of the information I had collected.
- Probably a better understanding of a rhetorical argument and ethos, logos, and pathos.
- I would have done better at narrowing my argument and research from the beginning.
- I would probably choose my same issue, and a lot of what I did in this paper.
I have not given or received any unauthorized assistance on this paper.
[K1]The beginning of has offered background information that sets the tone and foundation for the argument. It uses PATHOS.
[K2]Note the identification of a specific stakeholder.