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Metalhead is a popular term for a devoted fan of heavy metal music.. Heavy metal fans exist in many countries beyond the United Kingdom and United States, where it first developed, especially in Japan, Scandinavia and Brazil and even Mexico, Central America, and the Caribbean. Heavy metal fans have created a strongly masculine 鎻簒clusionary youth community whose core audience in the U.S. and the UK is 鎼榟ite, male, lower class youth [1] In continental Europe metal culture appeals to a more diverse audience, often spanning into the 30s and 40s and more frequently with a middle-class background and a higher cultural profile. However, the metal culture expands across the globe and is not limited to this. Metalheads affirm their membership in the subculture or scene by attending metal concerts, buying albums, and most recently, by contributing to metal websites. [2]
The long hair, leather jackets, and band patches of heavy metal fashion help to encourage a sense of identification within the subculture. [3] Like the music at its cultural core, these fashions have changed over the decades, from tight blue jeans, motorcycle boots and black t-shirts in the late 1970s and early 1980s to black jeans and army fatigue pants, military-style coats, and shaven or short-clipped hairstyles in the 1990s and 2000s. However, not all metal fans are 鎼梚sible members of the heavy metal subculture; some enthusiasts enjoy the music without adopting the metal "look" or some people may choose just to go for the long hair look.
Contents
1 Subculture
1.1 Authenticity
2 Social aspects
3 Attire
4 International variations
5 References
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Subculture
Heavy metal fans have created a "subculture of alienation" with its own standards for achieving authenticity within the group.[4] Deena Weinstein鎶� book Heavy Metal: The Music And Its Culture argues that heavy metal 鎼甴as persisted far longer than most genres of rock music due to the growth of an intense 鎼抲bculture which identified with the music. Metal fans formed an 鎻簒clusionary youth community which was distinctive and marginalized from the mainstream society [5]. The heavy metal scene developed a strongly masculine 鎻穙mmunity with shared values, norms, and behaviors. A 鎻穙de of authenticity is central to the heavy metal subculture; this code requires bands to have a 鎻筰sinterest in commercial appeal and radio hits and a refusal to 鎼抏ll out [6]. The metal code also includes 鎼妏position to established authority, and separateness from the rest of society. Fans expect that the metal 鎼畍ocation [for performers] includes total devotion to the music and deep loyalty to the youth subculture that grew up around it鍘�; a metal performer must be an 鎼僤ealized representative of the subculture [7].
While the audience for metal is mainly 鎼榟ite, male, lower/middle class youth , this group is 鎼畉olerant of those outside its core demographic base who follow its codes of dress, appearance, and behavior .[8] 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 metalheads celebrate their music. [9] Metal magazines help the members of the subculture to connect, find information and evaluations of bands and albums, and 鎻簒press their solidarity [10]. The long hair, leather jackets, and band patches of heavy metal fashion help to encourage a sense of identification within the subculture. However, Weinstein notes that not all metal fans are 鎼梚sible members of the heavy metal subculture.
Authenticity
In the musical subcultures of heavy metal and punk, the word "poseur" (or "poser") is a pejorative term used to describe "a person who habitually pretends to be something he is not."[11] The term is used to refer to a person who adopts the dress, speech, and/or mannerisms of a group or subculture, generally for attaining acceptability within the group, yet who is deemed to not share or understand the values or philosophy of the subculture. 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.[12] Jeffrey Arnett's 1996 book Metalheads: Heavy Metal Music and Adolescent Alienation argues that the heavy metal subculture...(and so on)
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