Gender, Metal and the Media pp 105-132

Part of the Pop Music, Culture and Identity book series (PMCI) | Cite as

Listening to Hard Rock and Metal Music

  • Rosemary Lucy Hill
Chapter

Abstract

This chapter challenges readings of hard rock and metal as masculine music. Hill examines women’s accounts of their experiences of musical pleasure. Through analysis of women fans’ descriptions of their favourite bands, she argues that, pace Kahn-Harris (2007), fans can be very articulate about what they like. Work of feminist writers on rock music is enlisted to argue that considering women’s listening pleasure gives new insights into the meaning of hard rock and metal music. The assumption that hard rock and metal is a masculine genre neglects important aspects of women’s fandom which diverge from the dominant myths.

References

  1. Ang, Ien. 1985. Watching Dallas: Soap Opera and the Melodramatic Imagination. London: Methuen.Google Scholar
  2. Baumgardner, Jennifer. 2005. Aural History: The Politics of Feminist Rock. In Sleevenotes to Papa, Don’t Lay That Shit On Me: The Chicago and New Haven Women’s Liberation Rock Band and Le Tigre. Rounder 82161-4001-2.Google Scholar
  3. Bayton, Mavis. 1997. Women and the Electric Guitar. In Sexing the Groove: Popular Music and Gender, ed. Sheila Whiteley, 37–49. London: Routledge.Google Scholar
  4. ———. 1998. Frock Rock: Women Performing Popular Music. Oxford: Oxford University Press.Google Scholar
  5. Bourdage, Monique. 2010. ‘A Young Girl’s Dream’: Examining the Barriers Facing Female Electric Guitarists. IASPM@ Journal 1(1): 1–16.CrossRefGoogle Scholar
  6. Churcher, Mel. 2007. What is a Sexy Voice? Voice and Speech Review 5(1): 260–262.CrossRefGoogle Scholar
  7. Clifford-Napoleone, Amber. 2015b. Queerness in Heavy Metal Music: Metal Bent. Abingdon: Routledge.Google Scholar
  8. Coates, Norma. 1997. (R)evolution Now? Rock and the Political Potential of Gender. In Sexing the Groove: Popular Music and Gender, ed. Sheila Whiteley, 50–64. Abingdon: Routledge.Google Scholar
  9. European Social Survey. 2013. Exploring Public Attitudes, Informing Public Policy. Selected Findings from the First Five Rounds.Google Scholar
  10. Fast, Susan. 1999. Rethinking Issues of Gender and Sexuality in Led Zeppelin: A Woman’s View of Pleasure and Power in Hard Rock. American Music 17(3): 245–299.CrossRefGoogle Scholar
  11. Fetterley, Judith. 1978. The Resisting Reader: A Feminist Approach to American Fiction. London: Indiana University Press.Google Scholar
  12. Geraghty, Christine. 1991. Women and Soap Opera: A Study of Prime Time Soaps. Cambridge: Polity.Google Scholar
  13. Grant, Judith. 1996. Bring the Noise: Hypermasculinity in Heavy Metal and Rap. Journal of Social Philosophy 27(2): 5–30.CrossRefGoogle Scholar
  14. Grossberg, Lawrence. 1984. Another Boring Day in Paradise: Rock and Roll and the Empowerment of Everyday Life. Popular Music 4: 225–258.CrossRefGoogle Scholar
  15. Hebdige, Dick. 1979. Subculture: The Meaning of Style. London: Routledge.Google Scholar
  16. Hesmondhalgh, David. 2005. Subcultures, Scenes or Tribes? None of the Above. Journal of Youth Studies 8(1): 21–40.CrossRefGoogle Scholar
  17. Hill, Rosemary Lucy. 2014b. Representations and Experiences of Women Hard Rock and Metal Fans in the Imaginary Community. Ph.D., Centre for Women’s Studies, University of York.Google Scholar
  18. Hunter, Seb. 2004. Hell Bent for Leather: Confessions of a Heavy Metal Addict. London: Harper Perennial.Google Scholar
  19. Kahn-Harris, Keith. 2007. Extreme Metal: Music and Culture on the Edge. Oxford: Berg.Google Scholar
  20. Kruse, Holly. 2002. Abandoning the Absolute: Transcendence and Gender in Popular Music Discourse. In Pop Music and the Press, ed. Steve Jones, 134–155. Philedelphia: Temple University Press.Google Scholar
  21. Leblanc, Lauraine. 1999. Pretty in Punk: Girls’ Gender Resistance in a Boys’ Subculture. New Brunswick, NJ: Rutgers University Press.Google Scholar
  22. McClary, Susan. 1991. Feminine Endings: Music, Gender, and Sexuality. Minneapolis: University of Minnesota Press.Google Scholar
  23. McDonnell, Evelyn, and Ann Powers, eds. 1995. Rock She Wrote: Women Write About Rock, Pop, and Rap. New York: Delta.Google Scholar
  24. Mynett, Mark. 2013. Humanizing the Machine: Technological Mediation and the Notions of Authenticity, Integrity and Liveness in Contemporary Metal Music. Heavy Metal and Popular Culture Conference, Bowling Green, OH, 4–7 April.Google Scholar
  25. Nordström, Susanna, and Marcus Herz. 2013. ‘It’s a Matter of Eating or Being Eaten.’ Gender Positioning and Difference Making in the Heavy Metal Subculture. European Journal of Cultural Studies 16(4): 453–467.CrossRefGoogle Scholar
  26. Overell, Rosemary. 2010. Brutal Belonging in Melbourne’s Grindcore Scene. Studies in Symbolic Interaction 35: 79–99.CrossRefGoogle Scholar
  27. ———. 2012. ‘[I] Hate Girls and Emo[tion]s: Negotiating Masculinity in Grindcore Music. Popular Music History 6(1): 198–223.CrossRefGoogle Scholar
  28. ———. 2014. Affective Intensities in Extreme Music Scenes: Cases from Australia and Japan. Basingstoke: Palgrave Macmillan.CrossRefGoogle Scholar
  29. Radway, Janice A. 1984. Reading the Romance: Women, Patriarchy, and Popular Literature. Chapel Hill: University of North Carolina Press.Google Scholar
  30. Rat. 2013 [1970]. Cock Rock: Men Always Seem to End Up on Top. In The Rock History Reader, ed. Theo Cateforis, 119–124. Abingdon: Routledge.Google Scholar
  31. Riches, Gabrielle. 2011. Embracing the Chaos: Mosh Pits, Extreme Metal Music and Liminality. Journal for Cultural Research 15(3): 315–332.CrossRefGoogle Scholar
  32. ———. 2014. “Throwing the Divide to the Wind”: Rethinking Extreme Metal’s Masculinity Through Female Metal Fans’ Embodied Experiences in Moshpit Practices. IASPM UK & Ireland Conference, Cork, Ireland, 12–14 September.Google Scholar
  33. ———. 2015. Re-conceptualizing Women’s Marginalization in Heavy Metal: A Feminist Post-structuralist Perspective. Metal Music Studies 1(2): 263–270.CrossRefGoogle Scholar
  34. Riesman, David. 1991 [1950]. Listening to Popular Music. In On Record: Rock, Pop and the Written Word, eds. Simon Frith and Andrew Goodwin, 5–13. London: Routledge.Google Scholar
  35. Skeggs, Beverley. 1997. Formations of Class & Gender: Becoming Respectable. London: Sage.Google Scholar
  36. Stacey, Jackie. 1994. Star Gazing: Hollywood Cinema and Female Spectatorship. London: Routledge.Google Scholar
  37. Vasan, Sonia. 2010. ‘Den Mothers and Band Whores’: Gender, Sex and Power in the Death Metal Scene. In Heavy Fundametalisms: Music, Metal and Politics, eds. Rosemary Lucy Hill, and Karl Spracklen, 69–78. Oxford: Inter-Disciplinary Press.Google Scholar
  38. ———. 2011. The Price of Rebellion: Gender Boundaries in the Death Metal Scene. Journal for Cultural Research 15(3): 333–349.CrossRefGoogle Scholar
  39. Waksman, Steve. 1999. Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience. London: Harvard University Press.Google Scholar
  40. Walser, Robert. 1993. Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Hannover, NH: University Press of New England.Google Scholar
  41. Weinstein, Deena. 2000 [1991]. Heavy Metal: The Music and Its Culture. Rev. ed. Boulder, CO: Da Capo Press.Google Scholar
  42. Whiteley, Sheila. 2000. Women and Popular Music: Sexuality, Identity, and Subjectivity. New York: Routledge.Google Scholar
  43. ———. 2006. Popular Music and the Dynamics of Desire. In Queering the Popular Pitch, eds. Sheila Whiteley, and Jennifer Rycenga, 249–262. London: Routledge.Google Scholar
  44. Willis, Ellen. 1977. Beginning to See the Light. Village Voice.Google Scholar
  45. Wise, Sue. 1984. Sexing Elvis. In On Record: Rock, Pop, & the Written Word, eds. Simon Frith, and Andrew Goodwin, 390–398. London: Routledge.Google Scholar

Copyright information

© The Author(s) 2016

Authors and Affiliations

  • Rosemary Lucy Hill
    • 1
  1. 1.School of Sociology and Social PolicyUniversity of LeedsLeedsUK

Personalised recommendations