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 KEYWORDS Type O Negative Little Red Riding Hood menstruation gender feminism wolves sexuality mms2.2.indb 233 mms2.2.indb 233 23/05/16 4:59 PM 23/05/16 4:59 PM
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.
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.
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