During the past three decades, heavy metal music has gone global, becoming a potent source of meaning and identity for fans around the world. In Metal Rules the Globe, ethnographers and some of the foremost authorities in the burgeoning field of metal studies analyze this dramatic expansion of heavy metal music and culture. They take readers inside metal scenes in Brazil, Canada, China, Easter Island, Indonesia, Israel, Japan, Malaysia, Malta, Nepal, Norway, Singapore, Slovenia, and the United States, describing how the sounds of heavy metal and the meanings that metalheads attribute to them vary across cultures. The contributors explore the dynamics of masculinity, class, race, and ethnicity in metal scenes; the place of metal in the music industry; and the ways that disenfranchised youth use metal to negotiate modernity and social change. They reveal heavy metal fans as just as likely to criticize the consumerism, class divisiveness, and uneven development of globalization as they are to reject traditional cultural norms. Crucially, they never lose sight of the sense of community and sonic pleasure to be experienced in the distorted, pounding sounds of local metal scenes. Contributors. Idelber Avelar, Albert Bell, Dan Bendrups, Harris M. Berger, Paul D. Greene, Ross Hagen, Sharon Hochhauser, Shuhei Hosokawa, Keith Kahn-Harris, Kei Kawano, Rajko Muršič,Steve Waksman, Jeremy Wallach, Robert Walser, Deena Weinstein, Cynthia P. Wong
Robert C. Allen (Chapel Hill: University of North Carolina Press, 1987), PP- 254-894. See Arthur Brittan, Masculinity and Power (New York: Basil Blackwell, 1989), especially pp. 36-41. 5. Deena Weinstein believes that heavy metal ...
Rosières en Haye: Camion Blanc. Fournier, V. (1999). Les nouvelles tribus urbaines: Voyage au cœur de quelques formes contemporaines de marginalité culturelle. Chêne-Bourg: Georg. Gaines, D. (1991). Teenage wasteland: Suburbia's dead ...
Wolf Marshall, a prominent teacher of metal guitar theory and technique, summarizes the basics: “By building triads or power chords on root, 7th, and 6th: i,VII, and VI—Am, G, F-the characteristic Aeolian chord progression, ...
Unlike most popular music studies, which only provide a scholar's view, this book is based on intensive fieldwork and hundreds of hours of in-depth interviews.
This book demonstrates the rich and varied ways in which heavy metal music draws on the ancient Greek and Roman world.
Metal Hammer, 281, 36–47. Clifford-Napoleone, A. R. (2015). Queerness in heavy metal music: Metal bent. New York, NY, and London: Routledge. Clinton, E., & Wallach, J. (2015). Recoloring the metal map: Metal and race in global ...
... Metal Rules the Globe. Heavy Metal Music around the World. Durham, NC: Duke University Press. Wallach, Jeremy (2011): “Unleashed in the East. Metal Music, Masculinity, and “Malayness” in Indonesia, Malaysia, and Singapore.” In: Jeremy ...
The essays in this collection investigate a variety of analytical, theoretical, historical, and aesthetic commonalities popular music shares with 20th and 21st century art music.
Reconciliation is not the only catalyst for changing myths in Ireland; there is also the part the Republic played in the Second World War to consider. The Irish role in defeating Germany in 1914–18 is perhaps seen as more morally ...
as it funcdouble edge that makes a “scene”20 that “can put people on edge”21 tions by way of a doubleness of meaning.22 ... 29 Thus, as with metal, irony has a socio-political force, a public cutting edge: “Unlike metaphor or metonymy, ...