The passing of Ronnie James Dio, a titan of heavy metal, might have escaped the notice of mainstream news outlets, or perhaps even your own radar. You might be unfamiliar with Dio himself. Yet, there’s a strong chance you’ve witnessed, and maybe even thrown up yourself, the iconic hand gesture he championed – the one seen flashing at concerts from Metallica to, yes, even Justin Bieber.
Ronnie James Dio, the iconic heavy metal vocalist, demonstrating the rock n roll hand sign, a gesture synonymous with rock and metal music culture.
This symbol, known by many names – devil sign, metal sign, devil horns, throwing horns, or the emphatically HEAVY F****N METAL HORNS – owes its widespread popularity in heavy metal culture to none other than Ronnie James Dio.
This article isn’t intended to be a deep dive into Dio’s illustrious career or the gesture’s complete history (Wikipedia can readily provide those details). Instead, inspired by Dio’s legacy, we’ll explore the multifaceted meaning of this hand sign within our contemporary pop culture landscape, particularly for enthusiasts of rock and related genres.
Is it a Satanic Symbol? Unpacking the Devil Horns’ Dark Side
It’s impossible to discuss the metal sign without acknowledging its association with the Devil, Satan, or whatever moniker the embodiment of evil is currently using. Occult and Satanic themes have long been intertwined with heavy metal music, a connection that persists today. Need a reminder? Perhaps not, but indulge in a brief example of this imagery in a classic metal video:
(While by today’s standards, such videos might seem mild, the presence of a red-suited figure wielding a pitchfork on stage while lyrics screamed “666! The number of the beast!” was undeniably provocative. And let’s be honest, the song still rocks).
However, like many who engage with dark imagery, heavy metal musicians and fans don’t necessarily worship evil or Satan simply because they reference them in lyrics or flash the horns at a concert. While a fringe minority might genuinely dabble in occult practices, for the majority, it’s about catharsis. We live within societal norms, often suppressing desires deemed ‘evil’ by organized religion. Engaging with horror movies, violent video games, and yes, throwing devil horns at a concert, becomes a safe outlet for emotional release and rebellion.
Consider it: this small hand gesture becomes a potent, yet harmless, form of rebellion. By simply tucking in your middle and ring fingers and raising your hand, you make a statement against established norms and perhaps, organized religion itself.
Pope Benedict XVI seemingly flashing the rock n roll hand sign, sparking humorous speculation about his potential affinity for heavy metal music.
Sexuality and the Sign: Exploring the Hyper-Heterosexual Angle
Perhaps the sign isn’t truly Satanic. But could it be interpreted as sexual? Heavy metal culture, undeniably, is steeped in hyper-heterosexual imagery. Another quick reminder? Consider this archetypal “sexy” heavy metal music video:
This hyper-sexualized aesthetic isn’t exclusive to metal. However, metal uniquely emphasizes “spike-ifying” phallic imagery. Take the Fender Stratocaster, an iconic electric guitar, already suggestive in its form:
Now, behold this B. C. Rich creation. A brief glance is enough – you might just poke your eye out!
The B.C. Rich Platinum Beast guitar, an extreme example of phallic and aggressive design aesthetics prevalent in heavy metal instruments.
From these examples, we can distill a fundamental heavy metal principle for phallic imagery:
- Take an object longer than it is wide.
- Render it menacing by adding spikes.
Applying this principle, we arrive at the upward thrust arm adorned with ‘spikes’ at the top – the Rock N Roll Hand Sign.
A classic depiction of the rock n roll hand sign, embodying the ‘spiked phallic’ imagery characteristic of heavy metal culture, symbolizing power and rebellion.
Beyond Satan and Sex: Mainstream Adoption and Evolving Meanings
Friedrich Nietzsche, the influential philosopher, portrayed in a way that humorously suggests a ‘metal’ sensibility, highlighting the broad cultural reach of rebellious attitudes.
Metal fans have long observed, sometimes with dismay, the spread of the devil horns gesture into decidedly non-metal contexts: Jonas Brothers concerts, commercial advertisements, even figures like Miley Cyrus. Dee Snider of Twisted Sister and even The Onion have commented on this cultural appropriation. Websites like “Take Back the Horns” humorously advocate for reclaiming the gesture’s original meaning. While often tongue-in-cheek, these reactions underscore the consensus: the hand sign is no longer exclusive to heavy metal.
It has morphed into a mainstream expression of celebration, sometimes aggressive, sometimes not. This isn’t the first instance of a fringe culture’s symbol of subversion becoming mainstream.
Consider these examples:
A Che Guevara t-shirt, illustrating how revolutionary symbols originating from fringe movements can become mainstream fashion statements.
Rachael Ray wearing a keffiyeh, demonstrating the mainstream adoption of cultural symbols initially associated with specific political or subculture groups.
Elvis Presley in his early rock and roll days, a reminder that figures once considered subversive and threatening can become mainstream cultural icons.
Let’s not forget: Elvis Presley was once perceived as subversive as today’s Satanic/occult symbolism in heavy metal.
The journey from subversive to mainstream is a recurring theme in popular music. Rock ‘n’ roll, R&B, punk, heavy metal, Madonna, hip-hop – all began as fringe, threatening, subversive forces, only to be embraced by the mainstream. Then, a new wave of rebellion emerges, and the cycle repeats:
Kesha, a modern pop artist, embodying a rebellious spirit, illustrating the cyclical nature of mainstream culture absorbing and reinterpreting subversion.
The Enduring Allure of Satan: Why the Dark Lord Still Matters
Perhaps there’s still a faint echo of the Satanic in the gesture. Like Che Guevara and the keffiyeh, throwing horns has transitioned from subversive to mainstream. Yet, unlike those symbols, the devil horns still carry the weight of representing, well, Satan himself:
Satan as depicted in South Park, a humorous yet recognizable representation of the ultimate symbol of rebellion and subversion in Western culture.
Credit where it’s due: Satan’s image is what makes “throwing horns” so impactful. Satan embodies the ultimate subversion – what’s more fringe and threatening than the very personification of evil? When seeking to express rebellion or embrace a threatening aesthetic in music, invoking this image is undeniably potent.
However, Satan is also highly abstract, far more so than Cuban revolutionaries or the Palestinian Liberation Organization. This abstraction paradoxically makes him a safe symbol of rebellion. There’s a reason why most metal bands avoid Nazi imagery while readily embracing Satanic and occult references.
Neo-Nazi imagery, a stark contrast to Satanic symbols, representing truly offensive and unacceptable forms of subversion that are widely rejected in mainstream and even counter-culture contexts.
Nazi imagery is genuinely offensive and beyond the pale. You’d never witness it at a Judas Priest concert, or anywhere in respectable company.
Perhaps spiking phallic imagery actually diminishes its threatening nature.
Ultimately, throwing horns is a blend: a touch of Satan, a hint of sexuality, conceptually threatening and fringe, yet abstract enough in practice to become safe and mainstream.
Most importantly? It’s just plain fun. Go ahead, try it:
A hand confidently displaying the rock n roll hand sign, inviting the viewer to engage with the gesture and the culture it represents.
Now, do something metal. Perhaps salute Ronnie James Dio for his contribution to our shared cultural vocabulary.
