Opening with the question 'what is myth?', the first section provides a wide-ranging review of mythography. This study addresses the surprising persistence of mythical influence in contemporary fiction. Woman as gorgon, woman as temptress: the classical and biblical mythology which has dominated Western thinking defines women in a variety of patriarchally encoded roles. Representation matters, and the nuances of how the female gender has been portrayed throughout the centuries as reflected in the re-telling of a fairy tale is a subject that warrants a closer look through metal music and gender. As ‘Little Red Riding Hood’ traverses onward throughout the western society’s cultural consciousness, one can only hope for further metal music acts interpretations of this infamous fairy tale. Instead, it is the hallmark of a ‘great day’, and is something that should be celebrated. Meeting (or meating) a wolf that is hungry for you is nothing to fear in Type O Negative’s version of ‘Little Red Riding Hood’. In ‘Wolf Moon (including Zoanthropic Paranoia)’, the woman is rewarded for those experiences, by being permitted to indulge in her darkest desires. Real-life themes are undoubtedly found within fairy tales as well, with a special emphasis on how women who do not remain in their proper place are punished because of it. Any Women’s Studies programme student is attuned to how storytelling and imagery of those within the story influence gender roles and their perceptions. Both contain the same themes: the stigmatization of eroticism, reclamation of agency, along with the nuances of gender identity and representation. Subject to more critical examination, ‘Wolf Moon (including Zoanthropic Paranoia)’ can also be presented as a contemporary incarnation of the ‘Little Red Riding Hood’ myth. Type O Negative’s ‘Wolf Moon (including Zoanthropic Paranoia)’ seems to be a melodic ode to lascivious werewolves or to sexual intercourse during menstruation, which is transformative, allowing participation to channel animalistic instincts. I think the two sides of Peter Steele can be best illustrated by the fact the guy loved nature and would have spent his whole life caring for his beloved trees if he'd been able to yet he was a violent alcoholic who played dark, heavy songs and drove this.

So yeah-pretty complex band but at the same time not one to take too seriously. Even so for the rest of their career they managed to go from mocking goth culture to embracing it a bit more as they realized rather than taking them too seriously most of the goth crowd 'got' the joke and were laughing right along with them. He preferred to keep things crude, rude and lewd. It's really only around the release of World Coming Down you see Peter start to be a bit more serious and it ended up being his least favorite because he didn't really like dealing with the shitty real-life stuff he'd ended up writing about.

Nothing they ever did was serious and the more seriously people took them the more they made fun of what they felt was these fans pretentiousness by making serious-sounding songs with lyrics that sounded pretentious but were really crude and/or vulgar. Basically they were a bunch of self-admitted low-class guys from Brooklyn, NY who liked to make dark, heavy music as a way of coping with how shitty they felt the world was. October Rust and Bloody Kisses before it were basically Peter's attempt to 1) throw shade at a girl who broke his heart and 2) throw shade at both the goth community she (apparently) was part of as well as the goth's who had made the mistake of taking their darkness/lyrics too seriously.

Wolf moon type o negative