A cry in the dark: The howls of wolves in horror and heavy metal music

Deranged howling is a hallmark of wolves, horror texts and heavy metal music artists. This article discusses how wolves, heavy metal music artists and horror text directors use diegetic sound to interact with listeners. Wolves use howls in real life to communicate their location and identity to their pack-mates. Howling in heavy metal music is used either as a literal sound or as a metaphor, to unite their audiences as one cohesive pack, or as a reunion call. The sound of a wolf in horror films indicates something wicked coming along, often in the form of a werewolf or other nefarious monsters. This article shows how a cry in the dark in horror texts, heavy metal music, and in the wilderness is a means of communicating an emotion or identity to a mass human or lupine audience

Lechery, lycanthropy and Little Red Riding Hood in Type O Negative’s ‘Wolf Moon (Including Zoanthropic Paranoia)’

Type O Negative’s ‘Wolf Moon (including Zoanthropic Paranoia)’ seems to be a melodic ode to lascivious werewolves or to sexual intercourse during menstruation, which is transformative, allowing participation to channel animalistic instincts. Subject to more critical examination, ‘Wolf Moon (including Zoanthropic Paranoia)’ can also be presented as a contemporary incarnation of the ‘Little Red Riding Hood’ myth. Both contain the same themes: the stigmatization of eroticism, reclamation of agency, along with the nuances of gender identity and representation. Any Women’s Studies programme student is attuned to how storytelling and imagery of those within the story influence gender roles and their perceptions. Real-life themes are undoubtedly found within fairy tales as well, with a special emphasis on how women who do not remain in their proper place are punished because of it. In ‘Wolf Moon (including Zoanthropic Paranoia)’, the woman is rewarded for those experiences, by being permitted to indulge in her darkest desires. Meeting (or meating) a wolf that is hungry for you is nothing to fear in Type O Negative’s version of ‘Little Red Riding Hood’. Instead, it is the hallmark of a ‘great day’, and is something that should be celebrated. As ‘Little Red Riding Hood’ traverses onward throughout the western society’s cultural consciousness, one can only hope for further metal music acts interpretations of this infamous fairy tale. Representation matters, and the nuances of how the female gender has been portrayed throughout the centuries as reflected in the re-telling of a fairy tale is a subject that warrants a closer look through metal music and gender

Women, heavy metal music, and trauma

Extreme metal is often used as a broader category that includes black, grind, and death metal. This chapter maps extreme metal’s engagement with women in order to gauge the patriarchal modes of address and engagement in this subgenre, examining gender and extreme metal, as well as its audience. Amanda DiGioia also considers gender and black metal later in the chapter, in the section entitled ‘Women, heavy metal music, and trauma’.1 The chapter concludes with some thoughts on trauma, performance and methodology

Mujeres Sámi. Tierra, dialecto, vigor, valores

Sámi women, much like other women of the world, have faced numerous attacks on their ancestral lands, language, health, and culture. Colonization, which spurs on institutions of colonization and oppression, can be seen as the ultimate form of violence against indigenous women. Indigenous women throughout the world share transnational injustices and patriarchal oppression, as patrilineal domination of indigenous women surpasses all boundaries.Las mujeres Sámi, como muchas otras mujeres en el mundo, han sufrido diversos ataques sobre sus tierras, lengua, salud y cultura ancestrales. La colonización, que estimula la creación de instituciones de colonización y opresión, puede ser considerada la forma fundamental de violencia contra las mujeres indígenas. Las mujeres indígenas a lo largo y ancho del mundo comparten injusticias y opresión patriarcal transnacionales, ya que la dominación patrilineal de las mujeres indígenas supera todas las fronteras

Fan Appreciation: Game of Thrones on Kinja

Fan Phenomena: Game of Thrones is an exciting new addition to the Intellect series, bringing together academics and fans of Martin's universe to consider not just the content of the books and HBO series, but fan responses to both

Heavy Metal, Gender and Sexuality: Interdisciplinary Approaches, Florian Heesch and Niall Scott (eds) (2016) Abingdon-on-Thames: Routledge, 282 pp., ISBN: 9781472424792, h/bk, £110. Gender, Metal, and the Media: Women Fans and the Gendered Experience of Music, Rosemary Lucy Hill (2016) Pop Music, Culture, and Identity, London: Palgrave Macmillan, 184 pp., ISBN: 9791137554406, h/bk, £52.99.

Heavy Metal, Gender and Sexuality was published by Routledge in 2016. The second work also debuted in 2016 and is entitled Gender, Metal and the Media: Women Fans and the Gendered Experience of Music. This piece will review both works individually, before relating them to each other, as well as comparing and contrasting their contributions to the field

The New new typography?: A Critical view of the state of typography

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Sámi Women : Terrestrial, Dialectal, Vigor, Ethos

Sámi women, much like other women of the world, have faced numerous attacks on their ancestral lands, language, health, and culture. Colonization, which spurs on institutions of colonization and oppression, can be seen as the ultimate form of violence against indigenous women. Indigenous women throughout the world share transnational injustices and patriarchal oppression, as patrilineal domination of indigenous women surpasses all boundaries.Las mujeres Sámi, como muchas otras mujeres en el mundo, han sufrido diversos ataques sobre sus tierras, lengua, salud y cultura ancestrales. La colonización, que estimula la creación de instituciones de colonización y opresión, puede ser considerada la forma fundamental de violencia contra las mujeres indígenas. Las mujeres indígenas a lo largo y ancho del mundo comparten injusticias y opresión patriarcal transnacionales, ya que la dominación patrilineal de las mujeres indígenas supera todas las fronteras

Nameless, but not blameless: Motherhood in Finnish heavy metal music

This article argues that, in some specific cases, Finnish heavy metal lyrics are horror texts, and that mothers in Finnish heavy metal lyrics are often relegated to tropes, like being ‘othered’. This shows that motherhood in Finnish heavy metal lyrics, much like motherhood in horror texts, is rarely depicted subversively. This article will address aspects of what makes motherhood horrifying and monstrous in Finnish heavy metal music. Because Pekka Kainulainen, the lyricist for Amorphis (a Finnish heavy metal band), was interviewed specifically for this project, the main example used in this article will be the lyrics of Amorphis. However, several other Finnish metal bands will also be utilized to support this thesis

The Examination of Threat and Affiliative Tendencies Through Pronoun Usage in Relation to Consumer Evaluations

This study further examines the relationship between threat and affiliative tendencies. Under threat, there is a tendency to embrace others in efforts to reduce threat and uncertainty. This study explores whether product advertisements that use inclusive pronouns (e.g., we, our) lead products to be perceived as more attractive/valuable under threat (compared to low threat). Therefore, this study employs a 2 (threat: low vs. high) X 2 (ad reference frame: inclusive pronouns vs. 3rd person) between-subjects design. Data from 145 university student participants were collected. To manipulate threat, participants were told they would be taking part in a learning exercise and were randomly assigned the role of the learner , while a participant in another room would act as the teacher who would administer the punishment/reinforcement (e.g., sound blasts) to the learner . Participants viewed one of two versions of an advertisement for a hypothetical product. We expect that participants in the inclusive pronoun condition will evaluate the product more positively and that the positive impact of inclusive pronoun use will be stronger under high levels of threat. Analyses for the primary hypotheses revealed some support and many exploratory analyses revealed significant result