Archive-name: heavy-metal/metal-as-music
Posting-frequency: semimonthly Last-Modified: 16-Mar-06 See reader questions & answers on this topic! - Help others by sharing your knowledge ------ Part I :: Frequently Answered Questions (Granular) ------ { I. Frequently Answered Questions I. Procurement II. Ideology III. Music Making IV. Scene Inbreeding V. Overheard VI. About this FAQ } I. Frequently Answered Questions (Granular) The Frequently Answered Questions section provides granular responses to identified questions and constitutes section I of the FAQ, whereby all things which need to be addressed first are, before section II, or the academic/philosophical section of the FAQ. 1.1 Procurement Metal (the music) is a creation of the spirit; metal (the physical manifestation as recording) is a creation of a pressing machine and mail-order distribution system like any other object. Luckily, thanks to increased technology and better marijuana, buying metal is in many ways at its easiest point in history. 1.1.1 how to find? (a) Local record stores - since 1997, it has been easier to find death and black metal in such stores. (b) Online mainstream store - amazon.com, half.com and gemm.com are great highly-visible, "safe" places to buy. (c) Underground distro - the traditional way to buy; see http://www.anus.com/metal for links. This often saves $2-$6 per CD and gives you the ability to find the lesser volume (100-1000 copy) releases. Disadvantages are that most distros are flaky one-man outfits. 1.1.2 distribution See section IV, "Metal as virtual community," subsection 3. 1.1.3 trading See section IV, "Metal as virtual community," subsection 3. 1.2 Ideology Many questions come up about why metalheads act the way they do, and quite often the answer has ideological origins. 1.2.1 black metal crimes What were the crimes in Norway and other states related to black metal and their extent? "Beginning with a small, ineffectual fire at Storetveit Church in the month preceding the Fantoft blaze, there have since been a total of at least 45 to 60 church fires, near-fires, and attempted arson attacks in Norway. Roughly a third have a documented connection to the Black Metal scene, according to Sjur Helseth, head of the Technical Department of the Directorate for Cultural Heritage." - Lords of Chaos, p 79 1.2.2 theology The theology of black metal involves a primary dualism in which "good" is a weak force which seeks to be inert, and "evil" is a dark and strong force which seeks destruction and constant change, chaos. - gOD = centralized force, guilt force, dependency on life (= external) for not only physical need but also for correlation to a "reality" - society = slavery; it is the result of not having spiritual insight and thus is a massive load of denial which we force on each others as tokens of material; even more, the ultimate expression of materialism is the "individualism" and "equality" of modern society which denies our inner abilities and strengths in favor of conformity, jobs, and bureaucratic norms. - satan = liberating force of individual chaos and uniqueness of all corners of universe, "NON SERVIAM," and the freedom of darkness: a kind of nihilism in which all things are mysterious for their potential and not their actuality, and nothing ever is, only in the process of being. - "good" = obedient, oblivious, denial, "modern reality" dogmatically silent denial existence system - evil = free, feral, animalistic, instinctual, vital, courageous, virtue, will, power, freedom, vice, sloth, ambient fear. "Other government operations and 'experiments' have also been verified beyond a shadow of a doubt. The CIA's COINTELPRO activities against domestic 'agitators' in the 60s and 70s have been verified by the government and by non-governmental agencies. Also in the 50s there were several cities selected, apparently completely randomly, for a particularly heinous 'experiment.' These cities were doused with nuclear radiation in order for the government to determine its effects on the human body. They wanted to figure out how the populace would be affected by long-range fallout during a hypothetical nuclear war with the Soviet Union. A couple of years ago the government apologized for this 'experiment' but added the levels of radiation were relatively harmless along with some other extremely lame excuses. And people wonder why I'm paranoid." - Zahhak, on http://www.burzum.com/ 1.2.3 fascism (Summary for those easily offended: metal is a Romanticist musical genre, and as such idolizes the ancients, nature, an easy relationship to the giving and taking of death, a belief in cosmic order derived from the pattern of thoughts, and of course nationalism. While most metal artists are not National Socialisms, white pride/white power, white supremacists, white nationalists, neo-Nazis, Republicans, etc. the greatest majority of contributors to the genre have been Romanticists and thus have beliefs which coincide somewhat with some of those of National Socialists. Our job as FAQ authors is not to apologize for or promote this relationship, but to report on it!) As it stands now, it is fair to say that a large percentage of black metal's founders and practicioners identify themselves as having National Socialist or racialist leanings, and that most of those who innovated the genre with death held such viewpoints. Simultaneously however it is worthy to mention that these individuals share an interpretation of the relationship between Satanism, nihilism, fascism and Odhinism; they see the fascist mentality as approaching the "warrior morality" Nietzsche writes of or a spiritual coexistence with nature. Many also have identified, as a result of Satanist or Odhinist spiritual leanings, with the rebellion against Judeo-Christianity that claims Europe should be free from the Semitic influences of Judaism, Christianity and Islam. In one way or another, most black metal fans have found something in fascism with which they identify, even if they do not accept the whole. Before the cry of un-P.C. terror goes up, let us not forget that metal is a post-moral genre and so has no qualms about the methods of the Nazis, only questions about the ultimate effectiveness. There are also many who appreciate the Nazis but as a scientific preference would have used other methods for similar but not exact goals. Nazism was a revolt against the idea that the individual could be represented as an equal for purposes of commerce, and thus a superior utilitarian society could be achieved: "And if we ask who was responsible for our misfortune, then we must inquire who profited by our collapse. And the answer to that question is the 'Banks and Stock Exchanges are more flourishing than ever before.' We are not fighting Jewish or Christian capitalism, we are fighting every capitalism: we are making the people completely free." - Adolph Hitler, Speech of April 12, 1922 (Munich) Romanticism shared this view of the individual not as something to be counted but experienced: "According to the romantic conception, the lost unity could not be restored by external means; it had rather to grow out of man's inner spiritual urge and then gradually to ripen. The romantics were firmly convinced that in the soul of the people the memory of that state of former perfection still slumbered. But that inner source had been choked and had first to be freed again before the silent intuition could once more become alive in the minds of men. So they searched for the hidden sources and lost themselves ever deeper in the mystic dusk of a past age whose strange magic had intoxicated their minds. The German medieval age with its colourful variety and its inexhaustible power of creation was for them a new revelation. They believed themselves to have found there that unity of life which humanity had lost. Now the old cities and the Gothic cathedrals spoke a special language and testified to that 'verlorene Heimat' (lost homeland) on which the longing of romanticism spent itself. The Rhine with its legend-rich castles, its cloisters and mountains, became Germany's sacred stream; all the past took on a new character, a glorified meaning." - http://flag.blackened.net/rocker/roman.htm These themes and other Romantic tenets appear in prominent places in metal music: While we may believe our world - our reality to be that is - is but one manifestation of the essence Other planes lie beyond the reach of normal sense and common roads But they are no less real than what we see or touch or feel Denied by the blind church 'cause these are not the words of God the same God that burnt the knowing - Burzum, Lost Wisdom Many consider Nietzsche the philosopher of metal, and in his view, our "individualism" works against the mechanism of natural selection that enables us to be more than talking apes: "Mankind does not represent a development of the better or the stronger in the way that it is believed today. 'Progress' is merely a modern idea, that is to say a false idea. The European of today is of far less value than the European of the Renaissance; onward development is not by any means, by any necessity the same thing as elevation, advance, strengthening. In another sense there are cases of individual success constantly appearing in the most various parts of the earth and from the most various cultures in which a high type does manifest itself: something which in relation to collective mankind is a sort of superman. Such chance occurrences of great success have always been possible and perhaps always will be possible. And even entire races, tribes, nations can under certain circumstances represent such a lucky hit." - Friedrich Nietzsche, The Anti-Christ A philosopher reviled by the fascists for being "too extreme," Julius Evola combined occultism and tradition to show us the ancient order of humanity only recently interrupted by modern society: "The essence of liberalism is individualism. The basis of its error is to mistake the notion of the person with that of the individual and to claim for the latter, unconditionally and according to egalitarian premises, some values that should rather be attributed solely to the former, and then only conditionally. Because of this transposition, these values are transformed into errors, or into something absurd and harmful. Let us begin with the egalitarian premise. It is necessary to state from the outset that the 'immortal principle' of equality is sheer nonsense. There is no need to comment on the inequality of human beings from a naturalistic point of view. And yet the champions of egalitarianism make equality a matter of principle, claiming that while human beings are not equal de facto, they are so de jure: they are unequal, and yet they should not be. Inequality is unfair; the merit and the superiority of the liberal idea allegedly consists of not taking it into account, overcoming it, and acknowledging the same dignity in every man. Democracy, too, shares the belief in the 'fundamental equality of anything that appears to be human.' I believe these are mere empty words. This is not a 'noble ideal' but something that, if taken absolutely, represents a logical absurdity; wherever this view becomes an established trend, it may usher in only regression and decadence." - Julias Evola, Men Among the Ruins Some of our most forward-thinking environmentalists realize that so long as this modern delusion of the individual exists, we will be on a path toward overpopulation and pollution of our natural environment: "A fundamental, devastating error is [having a] political system based on desire. Society and life are been organized on basis of what an individual wants, not on what is good for her...Just as only one out of 100,000 has the talent to be an engineer or an acrobat, only a few are those truly capable of managing the matters of a nation or humankind... In this time and this part of the World we are headlessly hanging onto democracy and parliamentary system, even though these are the most mindless and desperate experiments of humanity...In democratic coutries the destruction of nature and sum of ecological disasters has accumulated most...Our only hope lies in strong central government and uncompromizing control of the individual citizen." - Pentti Linkola, The Year 2017 Will Never Come Many, like the Romantics, posited a return to a pre-modern worldview, without necessarily giving up our technology. It is not just a different type of government, but a different conception of society -- and the individual: "The world may be explained in sociological terms. David Riesman describes three basic social personalities in _The Lonely Crowd_. 'Other-directed' people pattern their behavior on what their peers expect of them. Suburban America's men in gray-flannel suits are other-directed. 'Inner-directed' people are guided by what they have been trained to expect of themselves. [General Douglas] MacArthur was inner-directed. The third type, the 'tradition-directed,' has not been seen in the West since the Middle Ages. Tradition-directed people hardly think of themselves as individuals; their conduct is determined by folk rituals handed down from the past." - William Manchester, American Caesar Recently, these ideas have come about through a resurgence in the popularity of later Romantic-style works, including medieval fantasy and Gothic Romance: "I've never thought it an accident that Tolkien's works waited more than ten years to explode into popularity almost overnight. The Sixties were no fouler a decade than the Fifties -- they merely repead the Fifties' foul harvest -- but they were the years when millions of people grew aware that the industrial society had become paradoxically unlivable, incalculably immoral, and ultimately deadly. In terms of passwords, the Sixties where the time when the word progress lost its ancient holiness, and escape stopped being comically obscene. The impulse is being called reactionary now, but lovers of Middle-earth want to go there...[Tolkien] is a great enough magician to tap our most common nightmares, daydreams and twilight fancies, but he never invented them either: he found them a place to live, a green alternative to each day's madness here in a poisoned world. We are raised to honor all the wrong explorers and discoverers -- thieves planting flags, murderers carrying crosses. Let us at last praise the colonizers of dreams." - Peter S. Beagle, introduction to "The Hobbit," 1973 The authors of this FAQ advance a radical thesis regarding the development of "NSBM," or "National Socialist Black Metal," and the prevalence of Nazi beliefs and imagery in metal bands: that metal is fundamentally a Romanticist movement, that modern democracies have failed to avert our largest problems, and that for those reasons, metal bands have found sympathy for a set of issues shared in common between Romanticism and nationalist anti-capitalist aristocratic societies like the National Socialist German Worker's Party (Nazi Party); furthermore, because the situation - environment, population quality, servitude tendency of modern life - is so bad and yet is so widely unrecognized, metalheads grasp for ideals both in line with their own and _symbologically extreme_ enough to communicate effectively. Hence, in an extreme genre of music, anyone who is nationalist, environmentalist, Romanticist or simply detests modern society may acknowledge National Socialism as not only a possible solution but as a symbol of the type of solution needed: unlike every modern government, the Nazis were not afraid to limit the greed of individuals and to kill unsuitable ones. Regardless of what vectors of determination a metalhead would choose for "un- suitable," that kind of gumption appeals as the only likely way to reverse the mess that is modern society, a mess to which metal bands have for several generations demonstrated their antipathy. 1.2.4 christianity Metal and Christianity are in direct opposition; metal is the lawless, romantic, free and spiritually personal existence that Christianity fights with a material God ensconced in a symbol so absolute that any chaos or chance can be attributed to him. The outlook has not always been so clear. Black Sabbath wanted to create a Gothic horror movie soundtrack out of heavy rock, and with it came imagery that took several decades to explore. By the time of underground metal, the alienated outlook of hardcore punk had been absorbed by the metal community, including a total rejection of all things Christian. It is likely that newer generations will accept only those Christians who have a Romanticist, e.g. transcendentalist, outlook toward religion. Historical examples of this type of Christian include Johan Eckhart, Ralph Waldo Emerson, Arthur Schopenhauer and Adolf Hitler. "Afraid of what lies after death Your screams are unheard to Him Resisting your wake of adorn Your pleading falls deaf on your lord 'Go fuck your god' will be my final words To die is just the concept of living To be forgiven, salvation blessed with pain Endeavored is the blame of creation Pathetic lives, every second someone dies Delightful is the sight of repention No destiny, just a certainty of death In pain inducing lies of salvation Never repent..." - Deicide, Repent to Die (Legion) 1.2.5 suicide/slayer lyrics? This is forthcoming as soon as someone can show us a definitive connection between lyrics/music and suicide; I believe there is an incidental connection in that teenagers especially use music to define "mood" that resonates with their socioemotional representation of life at that moment in time. Hence, sometimes the right soundtrack must be chosen and Slayer is a reasonable bet. However, it is useful to analyze the lyrics of Slayer to examine this supposed "suicide-inducing Satanism" of which media trumpets and social bores have made quite a celebration of resentment. For this purpose, the nihilism of Slayer's lyrics is reproduced here to demonstrate its logicality and statement of critique of modern society: "Fear runs wild in the veins of the world The hate turns the skies jet black Death is assured in future plans Why live if there's nothing there Spectors of doom await the moment The mallet is sure and precise Cover the crypts of all makind With cloven hoof begone Chorus: Sadistic Minds Delay the Death Of twisted life Malicious world The crippled youth try in dismay To sabotage the carcass earth All new life must perish below Existence now is futile ... Convulsions take the world in hand Paralysis destroys Nobody's out there to save us Brutal seizure now we die." - Slayer, Hardening Of The Arteries (Hell Awaits) Where a killing is an act, art is a pretend act, or an articulation of the significance of that act - without the act itself necessarily occurring. In an artistic view of the world, all events and ideas have significance in some part of a large and varied reality. Slayer here express both an emotion and a diagnosis of modern times, speaking ultimately fatalistic depression and the social projection involved with the onset of failure. "Nobody's out there to save us" is a directly level criticism of the belief in a God who intervenes in the world to prevent humans from experiencing the consequence of their choices, as indicated by the previous line, "Paralysis destroys." The emotion of listless nihilism and a lack of hope portrays the sickness illustrated by thinkers such as F.W. Nietzsche, James Joyce, Bertrand Russell and Thomas Pynchon (Pynchon also uses the term "epileptic" to refer to the social neurosis which motivates social change through fear). The extrapolation of society from this work is quite clear: "all of mankind", "crippled children", "the world", and "humankind" are used synonymously for the human endeavor on planet earth, unified by a belief in the common logic referenced by the phrase "existence now is futile," implying a previously less futile existence (from the word "now" postmodifying the existential token) where presumably the logical system now ruptured in "epileptic" "seizure"s is dysfunctional. A similar view is taken in the break from Modernism that so-called "Postmodernists" employ: the direction of progress is no longer progress, but regression, because we have failed to address our inner needs. 1.2.6 black metal disputes At this point in time, I am not aware of any ongoing disputes in black metal except of course the constant warfare against Christian and Jewish imitators of the genre who preach their own sordid religion through their propagandist songs. 1.2.7 Research list For someone who wished to experience metal in depth without a huge time investment, the following list of useful albums might give them a chance to understand the whole from a slice of its most influential. 1.2.7.1 - 1.2.7.3 See Section II, "Metal as abstract concept," subsection 2.1.4. 1.3 Music making Creation of metal music is an important stage in Hessian evolution, as it changes a deconstructor/appreciator into a creator and thus completes the education necessary for uebermensch process. 1.3.1 technique Technique is the ideas for constructing events toward an objectivized efficiency. 1.3.1.1 Blast Beats Please see section II, subsection 2.1.5.1. 1.3.1.2 Fast strum Please see section II, subsection 2.1.5.2. 1.3.1.3 Double bass Please see section II, subsection 2.1.5.3. 1.3.1.4 Harmonics Please see section II, subsection 2.1.5.4. 1.3.2 production See our production techniques in Section III, "Metal as physical manifestation." 1.3.3 as cultural event Concerts as metal culture connect members of the culture through bonding via violent but pacifistic dancing, drug use, conversation, collective obstacle courses provided by society, and appreciation of music and the distinctiveness of each other. One learns more people-watching at a Hessian event than anywhere else. 1.4 Scene inbreeding No one is willing to declare a "sure" cause of scene inbreeding, since it is a great argument as to why it occurs, but one thing is for sure: after some time, scenes converge on themselves if not kept fresh. This author blames "power" and "monetary gain" as things which some people allow to encourage them to hold down territory within a genre, instead of advancing it; this disease of self-instability is usually cured with drugs and Roky Erickson ballads. 1.4.1 closed minded Some argue the "scene" is ruined by those who are closed-minded and will not accept new ways of creating music or thinking about ideas. Then again, those who are calling themselves "open-minded" usually listen to bands that are mostly the same old trash with a flute player, female vocalist, and keyboardist added to blast out trendy aesthetic touches. One thing is clear: too much consistency in expectation can ruin a "scene," whether that is by only allowing past-proven archetypes or only accepting that which is trivially "new" (in aesthetics, instrumentation, and production) but internally, in composition very much similar to everything else. The best art seems to worry less about external factors than about expressing itself well with whatever means are at hand. Often overhead: "you're just closed minded, you won't accept this new aesthetic variant" (experienced debaters will recognize the Bifurcation Fallacy here). 1.4.2 too serious Some argue that the music should not be taken too seriously, and that it should just be in fun, and no one should interpret anything more from the music than the music itself. One must consider, however, the great amount of privation and sacrifice undergone by many death metal musicians to make and distribute their music, and how seriously they make "artistic" and "ideological" choices about their music, plus how many of them talk about it in interviews. So as a scientist I would argue that whatever can be inferred from just the music is valid, and the rest is context - and if one truly listens to metal, one can hear a fusion of the oldest philosophies in history into a dark and nomadic nihilism for the future. Often overheard: "you're taking this too seriously... it's just music" (experienced debaters will recognize this is a Non Sequitur; all art has an ideology behind it, even if that ideology is a commitment to no belief, and every person who takes on an ideology is shaped by that belief and in turn finds it influences their artistic output). 1.4.3 connection to music Art is an expression of the consciousness of an "author": if same author values the ideological, there is a connection in the consciousness between these theories, leading to the idea that the art is indirectly influenced but crucially related by the same idea that is behind the author's connection to the ideology. For instance, a fascist musician might have started both of his explorations as an ecologist. "Anyways it's not like all artists have completely admirable qualities about them. If we were to nitpick about everything we didn't like about artists, nobody would be able to appreciate art of any kind." - Philip Wang, malgrnk@timewarp.net 1.5 Frequently Overheard Questions These are publically heard or sampled questions people have been frequently asking about the general topic of metal, with an emphasis on the recurring items. A random but healthy measurement. 1.5.1.1 Recently heard Questions Sampling data from three major sources, USENET postings, conversation overheard at record stores, and world-wide Hessian email measurement, a generality at best was consolidated. 1.5.1.1.1 emperor/enslaved tracks Q: Can someone refresh me as to what the deal is with the Enslaved half of the "Hordanes Land" split? They only have three tracks, but seven are listed. Were they indexed incorrectly or are the last four just missing? I've got the red Century Media version, if that makes a difference. 5.Slaget I Skogen Bortenfor 6.Allfadr Odinn 7.Balfor the rest is just a fucked up listing of the various 'parts' of the songs. - "Sybren," poster to alt.music.black-metal N.B.: Both the Century Media version (red/black) and the Candlelight version (black) of this album contain the error. 1.5.1.1.2 swedish distortion The Swedish death metal of the early 1990s had a blistering electric guitar tone heard most prominently on "Clandestine" by Entombed and "Like an Ever-Flowing Stream" by Dismember. "I have always loved the Swede death metal guitar sound above all. Maxing the highs and lows on an old BOSS 'Heavy Metal' gets that heavy Entombed 'Left Hand Path' sound. Put the Level and Distortion each at half, then just adjust your EQ's in your amp accordingly. You are more likely to find a BOSS 'Heavy Metal' at a pawn shop or something of that sort, seeing as how BOSS discontinued them a couple years ago..." - Gary (Morgion) "i seem to remember somebody said they used a small Marshal 50W combo for that album. Also, last i bought a dist box, the recommended one was Boss distortion II (i _think_, anyway it's the orange one). But that could never beat a custom rebuilt marshal (rewire the preamp to get one distorted and one clean channel, need not be that expensive). Guitar mics are important too, i still admire the Duncan Seymore 'Invader' mics that someone persuaded me to buy (and with that cool a product name, how could they go wrong). Now these are oldish wisdoms, but if you go to the store and drop that kind of talk, they might at least tell you something useful besides the sales pitch... Check out the Meshuggah paper at http://www.notam.uio.no/~espenth/mesh/ under 'Sound' etc." - Rasmus (Comecon) General consensus seems to be that one should use two distortion pedals in sequence and EQ heavily; favor the mids instead of the bass. 1.5.1.1.3 blast beats Please see Section II, subsection 2.1.5. 1.5.1.1.4 discographies For the most detailed and up to date discography, you probably want to visit the homepage of the band or the label. The following are indexes to those which through multiple reference points will get you what you need. Listings of bands and labels The part of this FAQ which was once here is, expanded, at the Dark Legions Archive. Dark Legions Archive Links Forest http://www.anus.com/metal/about/links/ Release databases http://www.anus.com/metal Lists historically important bands. http://www.freedb.org/ For tracklists. http://www.vampire-magazine.com/ Cover scans, release data. http://hematoma.net/ Underground band, label data. 1.5.1.1.5 current prison totals At the time of this writing, here are the current jail totals for metal musicians: Varg Vikernes 21 years Bergen, NO He will be out in 2006 if all goes well. "Faust" 15 years Oslo, NO Out of jail for some years. "Samoth" 2 years Oslo, NO Out of jail for some years. 1.5.1.1.6 origin of name "heavy metal" Some say the name Heavy Metal had been used by Steppenwolf in the '60s in "Born to Be Wild": I like smoke and lightning Heavy Metal thunder Racing with wind And the feeling that I'm under - "A Heavy Metal FAQ," by granel@geocities.com The term "heavy metal" was used to describe mass technological destruction to the point of biological toxicity in William S Burrough's book "Nova Express," published in 1964. He may have also used it in a story written before "Naked Lunch" in 1959. It is difficult to trace the etymology of the term "heavy metal." Most likely, it arose simultaneously as inspired by the class of metals, including mercury, described by the same term: volatile, toxic, and disproportionately heavy both in physical weight and the responsibility of those who handle such dangerous substances. "The earliest citation in the OED relating to the musical sense of 'heavy metal' is from William Burroughs in 1964. Here is an earlier Burroughs usage I have found: 1962 William S. Burroughs _The Ticket That Exploded_ 39 The Other Half was only one aspect of Operation Rewrite-- Heavy Metal addicts picketed the Rewrite Office, exploding in protest." - Fred Shapiro, "Antedating of Heavy Metal," American Dialect Society lead (n.) "heavy metal," O.E. lead. Black lead was an old name for "graphite," hence lead pencil (1688) and the colloquial fig. phrase to have lead in one's pencil "be possessed of (esp. male sexual) vigor," first attested 1941 in Australian slang. Adjective form leaden is a relic of O.E. The fig. sense of "heavy, oppressive, dull" is first attested 1577. Lead balloon "a failure" is from 1960, Amer.Eng. slang. - Online Etymology Dictionary http://www.etymonline.com/index.php?term=lead 1.5.2 "intellectuals" See section II, an abstract concept view of metal, for more information. "You may notice that various affiliations of some of the bands are listed. This is because some people may think that Nazis are nasty people and don't want to accidentally buy their albums, or that Church of Satan members are wimps, a disgrace to the scene, and should be brutally sodomized." - Thomas Wolmer, d90-two@nada.kth.se 1.5.3 totally granular These are questions from beyond the abyss of coordination, organization or necessary coherence. In some strange way, these random shots struck us as profoundly reflective of the confusion the genre causes. 1.5.3.1 drinking blood When drinking blood, be sure to have it chilled, or else it will curdle (clump up and become nauseating). It is recommended that you verify the blood is from meat for human consumption (or, of course, DIY). 1.5.3.2 fire-breathing The useful thing I can say here is that if you are breathing fire by blowing a highly flammable liquid over open flame, ready yourself NOT to inhale no matter what happens - get away from the flame first. Otherwise, you will fry your lungs and die in a brief paroxysm of intense pain followed by helpless suffocation. 1.5.3.3 sodomy Sodomy is most commonly legally defined as any contact between the genitals of one person, and the mouth or anus of another. The word has its origins in Biblical Christianity. It is sometimes used to mean sexual deviation, though in legal contexts it is defined as above. Throughout history, "sodomites," mostly male homosexuals and bestialists, have been punished by a largely theocratically controlled government, in hopes of stamping out "ungodly practices" that might bring divine retribution against Judeo-Christian society - http://www.gai.com/ 1.6 About this FAQ? Brief authorship information about those who created this FAQ, their origins, beliefs and other projects. 1.6.1 authorship The staff of the Amerikan Nihilist Underground Society and the Hessian Studies Center contributed extensively to this FAQ. Most written by Spinoza Ray Prozak, formerly a DJ at KSPC FM (88.7) in the eastern Los Angeles basin, and now a free-lance writer in The Netherlands. For contact, corrections or additions, please email goat@anus.com. 1.6.2 contributorship The position of contributor is shared with a constant stream of references to USENET or email list postings from talented individuals worldwide. If we use your text, attribution will be given including your name and a cite to the publishing of the original work. 1.6.3 design Design and contents copyright 1994-2006 Spinoza Ray Prozak and the Hessian Studies Center. 1.6.4 affiliated sites The staff that produced this FAQ are involved with a variety of sites: http://www.anus.com/metal/ Master philosophical metal reviews, history, info, pictures and sound. http://www.deathmetal.org/ Institute for the study of death metal. http://www.grindcore.org/ Academic study of grindcore. http://www.hessian.org/ Political representation for metal culture. ================================================================ (c) Copyright 1994-2006 Hessian Studies Center @ www.hessian.or User Contributions:
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