I’ve come to realize that Fans are not only the first level of Gatekeeping, but potentially the most toxic and destructive.
I’m a Gatekeeper
Events have conspired to make me think about and come to terms with one inescapable truth: I’m a Gatekeeper
It’s unavoidable. The very nature of writing about bands and music in the Heavy Underground (or any other topic) is a form of gatekeeping. Even if I’m just sharing my favorite song of the year, I’m essentially saying, “This is the best.” Even “this is my favorite” has the same effect: I’ve basically decided that this one song is my fave.
It’s Gatekeeping. But it’s also benign. I don’t think “gatekeeping” is a yes/no or either/or thing: gatekeeping isn’t that simple. It’s a continuum, ranging from Benign to the fuck. I also think there are different types of Gatekeeping: Fan, Enthusiast, Advocate, and Critic. None of these is better than the other, and all can be Benign, Destructive, or even a mix (which is the most common.)
The Fan as Gatekeeper
I was that guy who challenged you to name three songs if you wore a shirt, and judged you based on the music you listened to.
About three years ago, this is where I was at. I was just a fan of Stoner/Doom who wrote something on my blog two or three times a year. As a fan, I read a lot of reviews and followed a bunch of blogs, from The Obelisk to Outlaws of the Sun and the controlled, organized chaos that is Fast n Bulbous.
I also used to read a collective known as Angry Metal Guy (no link- I’m Gatekeeping.) They wrote a review of Acid Mammoth that was so insulting to me, so personal as a lifelong fan of what became Stoner/Doom, that I had to do something. Something beyond rage-posting a comment, which I did. I got banned for the effort, lol.
Me at my most fanboy!
In July of 2022, I posted my first take on the idea of Gatekeepers in Metal. Rereading it 3 years later, it strikes me as earnest but naive. But I stand by every word.
…when a site repeatedly slams particular genres, it can negatively impact artists and fans. What, exactly, is the upside of alienating an entire fanbase just to get some snarky shots in? As a whole, our community lacks mainstream respect or revenue. Disrespecting any part of it is bound to have a negative effect, both artistically and financially.
Metal Gatekeepers- A Rant (July, 2022)
I was acting as a Fan, and from that point on, I began to write and publish more frequently. Since that post, I’ve come to realize that Fans are not only the first level of Gatekeeping, but potentially the most toxic and destructive. As I point out in the essay, I was most definitely toxic and destructive when it came to music and Heavy Metal in general. I was that guy who challenged you to name three songs if you wore a shirt, and judged you based on the music you listened to. I’m eternally grateful that YouTube and Blogging weren’t a thing in those days.
So, I began writing as a Fan, but determined to do the opposite of Angry Metal Guy: to support and promote the music I love and the bands that make it. I consider it a form of Benign Gatekeeping, always aware of my natural tendency to be an asshole, and mindfully putting it to positive use. That took me to the next level of Gatekeeping: becoming an Enthusiast.
The Enthusiast as Gatekeeper
I began posting more regularly and with more attention to detail. From July until November, I’d average 10 to 15 views on what I posted, which was overwhelming! I didn’t know anything about Search Engine Optimization, thumbnails, inserting media, or any of the fundamental aspects of running a review site. In fact, I told myself I wasn’t a “reviewer,” just a passionate fan.
At this point, I was at the Enthusiast level of gatekeeping. No skill to speak of, and not much confidence, either. But man, it was fun writing about Sergeant Thunderhoof and Ruby the Hatchet. Everything was gloriously positive, with some general commentary interspersed throughout.
The worst part of this level is that after a while, people stop taking you seriously. Without a counterbalance to everything being wonderful, commentary on bands and their music becomes trite and inconsequential. Obviously, not everything is fantastic
I now realize that even as an Enthusiast, it was a form of gatekeeping, no matter how benign. I only published my favorite albums, and only good things were written, which is still gatekeeping at a basic level. It’s unavoidable.
Just as the transition from Enthusiast to Advocate is unavoidable.
The Advocate as Gatekeeper
For a small minority of bands and personalities, advocacy leads to unrealistic expectations.
On November 11th, 2022, I published a piece that would change my life. Writing my review of Vitsgar Suden’s The Faceless King is one of my favorite moments of writing. I was sitting on the couch with my ancient MacBook Air, and just letting it rip.
I remembered listening to Rush’s Caress of Steel as a kid and being mesmerized by it. It doesn’t stand up so well today, being in incredibly uneven and unfocused work, but back in the day, there was no reference point. It was awesome in every way as a 13-year-old, and evoked a feeling unlike any other album at the time.
I decided to translate that emotion into my review of The Faceless King, and note how far heavy concepts have evolved since 1975. It was so personal for me, I almost didn’t publish it. I clinched my eyes when I pressed the button, assured that no one would ever actually see it.
Hours later, the review got picked up by the band and shared on Instagram. Newbie Doomer’s recollection was I had tears welling in my eyes when I got 20 views. What I remember is Todd Severin (Ripple Music) reposting the Vitskar Suden post and my mind blown when I hit 76 views by midnight.
There was a ‘there’ there…
I’ve spent the majority of the past 3 years in the Advocate stage, and until recently, it was my comfort zone. I’ve been able to develop friendships with bands, labels, and PR companies. I try to mindfully promote the scene, elevate my friends, and increase the audience for the Heavy Underground as a whole.
However, recently I’ve realized there’s a price to pay for the Advocate approach that can have explosive, if unintended, consequences. For a small minority of bands and personalities, advocacy leads to unrealistic expectations. If a band is thrilled at the exposure, and we end up chatting regularly, they might feel like they have something like “front of the line” privileges, in which I automatically promote their next single or album.
Or, a band might expect 100% positive coverage at all times. If that percentage drops down to 98%, it’s an insult. Because the relationship has become so personal, anything I write or say becomes personal. At that point, my relationship with the band is more like family, and I think we all know what family can be the most dysfunctional and toxic relationship of all.
It can get ugly. Quickly.
I’m NOT singling out any one single band or person when I write this: it’s happened a handful of times. Some people take it personally that I don’t wear their T-shirt on YouTube often enough, or I’m not interviewing them often enough, and it takes too long for me to edit and publish. At other times, my advocacy for another band with whom they have a beef becomes an issue.
As I mentioned earlier, I spend the majority of my time at the Advocate level, both by choice and habit. The only reason Clean and Sober Stoner exists is to be a resource for music and a glimpse at a post-sobriety lifestyle. A chance for people who relate to my tastes and perspective to discover bands they probably would have missed out on.
As usual, though, I’ve been a bit naive. It’s not possible to remain an Advocate 100% of the time, and I’m not doing anyone any favors by overlooking critical mistakes or missteps. Eventually, I need to slide into Critic Mode.
And that’s when things can get…interesting.
The Critic As Gatekeeper
I do know that I don’t have to experience this to its ultimate conclusion to understand that Destructive Gatekeeping is a brutal path to go down.
I gotta admit, I’m suspicious of this level of commentary. I think Critical Gatekeeping is necessary for any form of art, regardless of the medium. Sure, Critics often operate like the Vultures of Popular Culture, picking at the dead and dying carcasses of their victims as they spill invective as a substitute for analysis. It gets clicks, views, and engagement, and ultimately keeps the Internet Music Community as toxic and unbearable as possible.
The thing is, not all critical analysis is this Destructive. And of course, the more Benign forms of criticism get only a fraction of the attention (making an Oroborus loop back to the destructive fans.)
Here’s where things get decidedly uncomfortable for me. Earlier in the year, I decided that I needed to transition to a more Critic-centric approach. I became acutely aware that I was sliding back into the Fan level of reviewing, and I needed to correct course to maintain my own integrity. However, I decided that I needed to balance out criticism with opposing views, and the Three Doomigos idea took hold, which eventually became Full Metal Banter.
I still think this is the best approach, teaming up with close friends with whom I disagree with on a variety of opinions. A little more edgy than my usual takes, balanced by different perspectives. I think this is the best way forward.
We try to do real takes as opposed to “hot takes,” while amping up the entertainment value of the discussion. What I’ve learned so far is that no matter how “real” an unexpected opinion is, fans who disagree will generally dismiss it as “hot.”
I’m not ready to address what happened. It’s still too close and personal, and I don’t have a rational grip on it yet. But the “outrage” that resulted in a casual comment that included the word “mid” exploded in a tiny segment of the scene. It was big enough to question what I’m doing, why I do it, and should I keep Clean and Sober Stoner going at all?
I don’t have an answer yet.
I do know that I don’t have to experience this to its ultimate conclusion to understand that Destructive Gatekeeping is a brutal path to go down. The best example of a benign critic getting sucked into a black hole of destruction is Finn McKenty, who, in the end, admitted that he relied on Wikipedia and other questionable sources for his content. All in service of maintaining his views, engagement, and income. I don’t want anything to do with that, and I don’t want to be in a position to “clap back” at my audience on a regular basis.
I’d have a way more successful channel if I leaned into the “hot take” and destructive side of criticism, at least in terms of clicks and views. But that’s not my motivation. I just want to be one of a growing number of voices bringing the incredible music of the Heavy Underground to a larger audience.
The Future of Clean and Sober Stoner
I have to admit, this is my first time looking at the various forms of Gatekeeping, and this post is my first attempt at exploring my role in the scene, at least publicly. I don’t presume to speak for any other reviewer or any other member of the CASS team.
No matter how I try to avoid it, I end up being some sort of gatekeeper. It’s unavoidable. I try my best to keep it on the Benign side of the scale, rather than succumb to the temptation of exploiting the appeal of Destructive gatekeeping. It’s a fine line to walk.
Regardless of what I do, no matter how careful I am, I’m bound to piss someone off. And I can’t afford to be afraid of that, while at the same time, don’t overreact to it. But I’m naturally an asshole at odds with the world around me, so good luck with that…
Oh yeah, one last thing: the word GATEKEEPING is a trigger word that carries the weight of a culture addicted to hot takes. I bet a few people don’t get past the title without a bit of outrage and hostility….
