Musical genre as a gendered process: Authenticity in extreme metal

While authenticity, gender, and genre have all been studied in relation to music, the links between the three are underdeveloped theoretically. Specifically, the ongoing gendered process of constructing authenticity and the role of gendered authenticity in the creation and articulation of new musical genres remain fairly unexplored. In particular, more work is necessary to explain the role of gender in the emergence of new subgenres, in the ongoing maintenance of genre boundaries, and in fans' identity work as they construct “authentic” participation in “underground” scenes. In this paper, we examine genre as a gendered process in the Extreme Metal (EM) music scene, a popular subgenre of heavy metal. We explore several gendered dimensions of the EM genre, including the music (instrumentation, vocal style, lyrics, record covers, merchandise), live performance (gender distribution and arrangement, moshing/dancing, audience/crowd interaction), and embodied genre performance (fashion, hair style, makeup). We conclude by suggesting that the construction of new subgenres is, in part, a process of reestablishing and valorizing masculine traits, denigrating feminine traits, and connecting such traits to authenticity, thereby perpetuating gender inequality and hegemonic masculinities.