2010) Heavy metal fans have created a "subculture of alienation" with its own standards for achieving authenticitywithin the group.
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 “subculturewhich identified with the music”. Metal fans formed an “exclusionary youth community” which wasdistinctive and marginalized from the mainstream” society.
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 hitsand a refusal to “sell out”.
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”.
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”.
within the subculture. However, Weinstein n
otes that not all metal fans are “visible members” of the heavy
Alienationargues that the heavy metal subculture classifies members into two categories by giving"...acceptance as an authentic metalhead or rejection as a fake, a poseur."