ABSTRACT
Heavy metal's choice of Satanism and futurism, and its mythic and archaic themes, positioned the listener against socially sanctioned desires for the future – it promised apocalypse instead of sex, Satan rather than salvation. Bands such as Iron Maiden and Judas Priest, who emphasized the performance of the heavy metal scene, became masterfully adept at conjuring the body-of-resistance command. Iron Maiden, by meticulously attending to the multiple sensory sites at which bodies encountered the band's work, was especially successful at reproducing the structure of the body as multiple sites of resistance, as a community in resistance. In the musical world of the late 1960s through to the early 1980s, hard-edged rock emerged as a scene that repositioned the relationships between human temporality and technology. At the time of hard rock's birth, bands like The Grateful Dead were expressing the same cynical attitude towards decadent technological progress that the protest movements at large were voicing.
