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200 pages

English

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Though it’s given little attention—and even less serious attention— by the mainstream press, metal music has for decades been a major creative and cultural force around the world. This book brings together a group of contributors from Europe, North America, and the Caribbean to make a case for metal’s place not merely on the periphery of our culture, but at its very heart. Contributors attend not merely to the music, but also the accompanying culture, and they offer intriguing insights into the rise of metal in places where it’s traditionally been little known, like the Middle East and North Africa. The result is a global portrait of metal that asserts its importance and its ongoing contribution to culture.

Sujets

Musique

Social Science

Popular Culture

Performing Arts

Sociologie, société et politique

MUSIC

Multiple signal classification

General officer

Anthropology

General

Social

ART

Culture

Informations

Publié par	Intellect Books Ltd
Date de parution	15 avril 2017
Nombre de lectures	0
EAN13	9781783207008
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,2250€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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First published in the UK in 2017 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2017 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2017 Intellect Ltd.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Copy-editor: MPS Technologies
Cover designer: Emily Dann
Production manager: Matthew Floyd
Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-700-8
ePDF ISBN: 978-1-78320-701-5
ePUB ISBN: 978-1-78320-702-2
Printed and bound by Gomer, UK
This is a peer-reviewed publication.
Contents
Acknowledgments
List of Figures
Foreword
Alex Skolnick
Introduction
Mika Elovaara, Ph.D. and Bryan Bardine, Ph.D.
Chapter 1: Thor and Trolls, Flutes and Fiddles: ‘Folk’ in Metal
Mika Elovaara, Ph.D.
Chapter 2: … Another Thing Coming: Nostalgia and Kitsch in Mass Cultural Manifestations of ‘Metal’
Brad Klypchak, Ph.D.
Chapter 3: Metal as a Vehicle for Critical Culture in Latin America and the Caribbean: Challenging Traditional Female Gender Roles through Music
Nelson Varas-Díaz, Ph.D.; Sigrid Mendoza, M.A.; Eliot Rivera, Ph.D.; and Osvaldo Gonzalez, B.A.
Chapter 4: Diversity in Metal Politics
André Epp, Ph.D.
Chapter 5: The Horror and the Allure: Metal, Power, Gothic Literature, and Multisubjectivity
Jeremy Wallach, Ph.D. and Esther Clinton, Ph.D.
Chapter 6: Bang Your Head to the ‘Beat’ of Non-Conformity
C.C. Hendricks, M.L.A., M.A., Ph.D. Candidate
Chapter 7: Metal Documentaries: The National, the Global, and the Cosmopolitan
Gerd Bayer, Dr. Phil. abil.
Chapter 8: But That Doesn’t Help Me On Guitar!: Unraveling the Myth of the Self-Taught Metal Guitarist
Kevin Ebert, M.M.
Chapter 9: Beyond ‘Forms of Aggression’: Teaching Extreme Metal in the Composition Classroom
Paul Petrovic, Ph.D.
Chapter 10: From Sabbath to Slayer: Using Metal in the Writing Classroom
Bryan A. Bardine, Ph.D.
Conclusion
Mika Elovaara, Ph.D. and Bryan Bardine, Ph.D.
List of Contributors
Index
Acknowledgments
Bryan A. Bardine
Drs. Sheila Hassell Hughes and Andy Slade for your support and willingness to give me the freedom to develop a course based on my passion for Metal music and culture.
Mika was chairing the session in which I was presenting at the PCA/ACA conference in Boston where I was giving a paper about the Metal-themed composition course I teach when we struck up a conversation. We hit it off and decided to grab dinner at the Hard Rock Café in Boston Market. We started talking at the bar and realized we had a lot in common – our passion for Metal, soccer, and our families. Mika said that we should write a book – and here it is. He’s been a great friend and co-editor/author throughout this project. I’ve learned a lot about Metal music and culture as well as my own writing process and what it takes to complete a work like this. Thank you.
Bridget Shingleton and Lynn Roesch, who helped in the final stages of the editing process. You were both amazing – Thank you!
My girls, Katie and Allie, you may not know it yet, but there is a Metalhead inside of you waiting to throw the horns some day!
My wife, Molly, none of this could happen without your love and support, and your no holds barred approach as my first reader – thank you for everything.
And finally, I am grateful for my Metal muse Ronnie James Dio, RIP brother
Mika Elovaara
I would like to thank Dr. Herb Berg, who allowed me to pursue unique academic interests in research and teach new and interesting classes in the UNCW GLS Program. That research led to many amazing classroom experiences as well as numerous presentations and publications; I wouldn’t be the scholar I am without Dr. Berg’s support. I would also like to thank all of my former students in Cultural Studies classes: discussing music and culture with you has been an important part on my professional journey in the academia. Mark Williams, Ashley Relf and C.C. Hendricks were amazing research assistants at various stages of my research, Rami Andersson and Mikko Pakanen accompanied me on a number of research trips, helping with interviews and photography; thank you all for your assistance. My humble thanks also go to all the contributors of this book; you have been patient and great to work with and I am grateful for the opportunity to have done so. Bryan Bardine, my co-editor, has been a rock behind this project, ensuring that it moves along even when I have literally had no time for it; Bryan has been the driving force behind it all. I would also like to thank Intellect for believing in this book and more specifically, Matthew Floyd for his guidance and leadership throughout the process.
None of this book would have happened without the support and help of the Metal fans and artists who participated in my empirical research project either through the online survey or through a variety of interviews. I would also like to express my sincerest gratitude to Toni Kemi, Silke Yli-Sirniö, Lauri Levola, Mikko Forsten, Pekka Leskinen, and Marco Järvenpää. Your belief in my research has allowed me invaluable access to the scene both in front of the stage and backstage, and I am very grateful for that. I am especially grateful to Mikko Kotamäki and Henkka Seppälä for insightful and enjoyable discussions on and off the record. There are many other Metal musicians around the world who have welcomed me to do research about their life and careers with open arms, spending time with me well beyond what is recorded. Many, though not all, of you are mentioned in the pages of this book; writing an all-inclusive list would be impossible, and I trust that those of you who have helped me along the way know who you are. I raise the ‘Metal horns’ for you in gratitude.
I would never have started or finished this book without the support of my family. My late mother and father were fans of music of all genres and they raised me and my sister to appreciate musicianship, artistic freedom and diversity, and I do believe that the roots of my interest in music both personally and professionally lie in the way I was raised. Most importantly, however, I am grateful for the unconditional support from my immediate family, my wife and three children, who always support me in everything I do. You are my greatest source of inspiration and my motivation to try to be the best I can be at everything I do every day. Thank you for your love and support.
List of Figures
Introduction
Figure 1: Moshpit at an In Flames show. (Photo credit: Mika Elovaara).
Figure 2: Joyful members of a moshpit at a Turisas show. (Photo credit: Mika Elovaara).
Figure 3: Kaarle Viikate on stage. (Photo credit: Mika Elovaara).
Chapter 1: Thor and Trolls, Flutes and Fiddles: ‘Folk’ in Metal
Figure 1: Turisas on stage. (Photo credit: Mika Elovaara).
Figure 2: Matias Nygard on stage. (Photo credit: Mikko Pakanen).
Figure 3: Swallow the Sun on stage. (Photo credit: Mika Elovaara).
Figure 4: Amorphis on stage. (Photo credit: Mika Elovaara).
Figure 5: Tomi Koivusaari on stage. (Photo credit: Mikko Pakanen).
Figure 6: Joakim Broden on stage. (Photo credit: Mikko Pakanen).
Figure 7: Mokoma on stage. (Photo credit: Mika Elovaara).
Figure 8: Children of Bodom on stage. (Photo credit: Mika Elovaara).
Figure 9: A moshpit turned into a line dance at a Turisas show. (Photo credit: Mika Elovaara).
Chapter 2: Another Thing Coming: Nostalgia and Kitsch in Mass Cultural Manifestations of ‘Metal’
Figure 1: Twisted Sister on stage. (Photo credit: Mika Elovaara).
Chapter 3: Metal as a Vehicle for Critical Culture in Latin America and the Caribbean: Challenging Traditional Female Gender Roles through Music
Figure 1: Puerto Rican Christian metal band Xacrosaint. Drummer Marisol Marrero in the front. (Photo credit: Nelson Varas-Diaz).
Figure 2: Xacrosaint concert in Puerto Rico. Marisol Marrero on drums. (Photo credit: Nelson Varas-Diaz).
Figure 3: Puerto Rican metal band Matriarch. Urrutia is second from right. (Photo credit: Nelson Varas-Diaz).
Figure 4: Matriarch concert in Puerto Rico with male backup singers. (Photo credit: Nelson Varas-Diaz).
Figure 5: Puerto Rican Death Metal band Death Arrangement. (Photo credit: Nelson Varas-Diaz).
Figure 6: Damaris Negrón, Death Arrangement singer, moments before opening for Soulfly. (Photo credit: Nelson Varas-Diaz).
Chapter 4: Diversity in Metal Politics
Figure 1: Matthew Tuck of Bullet for My Valentine. (Photo credit: Mikko Pakanen).
Chapter 5: The Horror and the Allure: Metal, Power, Gothic Literature, and Multisubjectivity
Figure 1: Anthrax on stage. (Photo credit: Mika Elovaara).
Figure 2: Bullet for My Valentine on stage. (Photo credit: Mikko Pakanen).
Chapter 6: Bang Your Head to the ‘ Beat ’ of Non-Conformity
Figure 1: Dark Tranquillity on stage. (Photo credit: Mika Elovaara).
Figure 2: A Summer Metal crowd. (Photo credit: Mika Elovaara).
Figure 3: Amorphis on stage. (Photo credit: Mika Elovaara).
Chapter 7: Metal Documentaries: The National, the Global, and the Cosmopolitan
Figure 1: Tommy Clufetos – Ozzy Osbourne drummer – playing drums. (Photo credit: Mikko Pakanen).
Figure 2: Marco Hietala of Nightwish and Tarot. (Photo credit: Mikko Pakanen).
Chapter 8: But That Doesn’t Help Me On Guitar!: Unraveling the Myth of the Self-Taught Metal Guitarist
Figure 1: Marco Hietala, one of the many world-renowned Finnish Metal musicians with a background in formal music education. (Photo credit: Mikko Pakanen).
Chapter 9: Beyond ‘Forms of Aggression’: Teaching Extreme Metal in the Composition Classroom
Figure 1: Fear Factory 2013 line-up. (Photo credit: Stephanie Cabral).
Fig