What's So Hard to Understand About a Black Woman Who Loves Heavy Metal?

Laina Dawes never satisfyingly explains the origins of her musical tastes in What Are You Doing Here?: A Black Woman's Life and Liberation in Heavy Metal, but then again, who ever can?

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Bazillion Points

Demography isn't cultural destiny. I may be a Jew, but that doesn't mean that I have to listen to klezmer. And in fact, my musical tastes encompass country, folk, gospel, soul, electronica, metal ... everything and anything. It's almost as if I'm an omnivorous white hipster—just like all those other Jews, from Alan Lomax to Paul Simon to Robert Zimmerman.

The point being that while ethnicity, race, and religion don't determine what you do, they are part of the narrative of your life. There is no algorithm by which people's history, class, or race turns them into who they are—but still, who you are is in part a result of your history, class and race. Untangling the self from its community and history can, therefore, be a maddening, impossible, fascinating, exhilarating task.

This kind of untangling is certainly the impetus for Laina Dawes in her recent book, What Are You Doing Here?: A Black Woman's Life and Liberation in Heavy Metal. As the title suggests, Dawes has a compellingly idiosyncratic tale to tell about cultural identity and personal passion. A black Canadian woman, Dawes is obsessed with heavy metal—a genre, particularly in its more extreme manifestations, that is not known for its appeal to either women or blacks, much less both at the same time. Exploring why she finds this music compelling, then, seems like it might be a way to illuminate race, gender, and metal, as well as a way to help explain how we are and are not more than the sum of our cultural signifiers.

But Dawes can't quite sort it out. On the one hand, she insists that black women should be able to embrace metal as a way to "express their individuality." (19) But on the other, she claims that metal is appealing because it includes "universal emotions that everyone feels." (65) She argues that metal provides a "voice for the voiceless." (19) But she never attempts to explain why that's different from, say, hip-hop, or jazz, or any number of other musics attached to subcultures that, arguably, have been more voiceless than the white guys like me who listen to metal. Finally, Dawes insists adamantly that her love of metal is not about rejecting blackness, and particularly denies that her upbringing as the adopted child of a white family is linked to her passion for the music. (67) But she also suggests that metal is a way for her to reject "hyper-sexualized images of black women in hip-hop culture." (100) She even approvingly quotes Keidra Chaney, another black female metalhead, who says that the appeal of metal for her was that it "didn't reflect my life experiences or cultural identity in any tangible way." (70)

Part of Dawes's difficulty is precisely what makes her struggle interesting: the fact that there are few resources for talking about minority appreciation of majority culture.

Part of Dawes's understandable difficulty is precisely what makes her struggle interesting: the fact that there are few cultural resources for talking about minority appreciation of majority culture. If Wim Wenders wants to laud Cuban singers in Buena Vista Social Club, or Eric Clapton wants to demonstrate his love of the blues, there's a language to make sense of it: They can frame their passions in terms of authenticity, or cool, or appreciating and promoting groups that lack access to the mainstream. In contrast, as Dawes says, "When I discuss black women in the metal, hardcore, and punk scenes, the most common response from people who don't know me is a three-second pause, and then 'Huh?'"

It's a funny quip, not least because it points out just how arbitrary our assumptions are, not just about Dawes, but about folks like Wim Wenders and Eric Clapton too. Must every white man go to the same crossroads to watch the same marginalized someone sacrifice his soul on the same altar of real, real, realness? Couldn't we maybe, please, occasionally, do something else?

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Noah Berlatsky is a contributing writer for The Atlantic. He edits the online comics-and-culture website The Hooded Utilitarian and is the author of the forthcoming book Wonder Woman: Bondage and Feminism in the Marston/Peter Comics, 1941-1948.

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