s (who may be artists) and society itself as understood by powerful elites. In discussing the ethnography of music practice, Harris Berger (1999: 31) focused on musical practibe "at its medial level and how the participants' practices constitute music cultures." It is this theorist's argument that experience is a form of social practice and that practice itself is a dense web of the individual and the social. Consequently, understanding practice requires multiple levels of focus. Similarly, Marx asserted that the owners of labor power, capital, and land are distinct from one another in that the mower powerful among these three classes have the capacity to shape and inform what the laboring classes do (Tucker, 1972: 441). What this suggests is that the artists who produce heavy metal and other forms of music are actors who are to a degree manipulated by those other actors who control the production of records, who disseminate and distribute these products to the consumer, and the other brokers who determine what will be heard
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