e rest of the audience, since they have special access to the musicians that no one else is able to obtain and men in particular think that access is " 'unfair,' even if they can identify with the recipient of the groupie's favors" (Weinstein 228). Forrest points out that books about metal bands, such as Hammer of the Gods, "treat groupies like a punch line to a never ending joke that only the boys are in on," and "the popular media tends to present groupies as sexually indiscriminate, submissive, mentally ill, and taken advantage of." Groupies were part of or instigated "wild backstage parties, outrageous hotel antics, and drug use," lending to the "construction of the persona of the male metal rock musician as wild, sexually potent, powerful, and poignant" (Forrest). Groupies are "commemorated in lyrics and on videos...Not only passive, they are also one-dimensional. They epitomize, as the metal subculture often does, tendencies that characterize rock culture more generally" (Weinstein 67).
Portrayal of women and men in heavy metal video
Heavy metal video, like the genre itself, is strongly into sex. Both women and men in heavy metal music and video are in excellent physical condition. Whereas overweight, out-of-shape performers like Meatloaf were able to do well in rock and roll, in heavy metal the star's physical appearance-"the requisite body image-serves as a selecting mechanism, rejecting individuals who lack the requisite attributes" (Weinstein 11). As Weinstein (63) affirms, "Heavy metal is not an equal-opportunity employer. Who you are, in the sense of ascribed characteristics over which you have little if any control-for example, g
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