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UWS Academic Portal Islamic Religion and Death Metal Music in Indonesia
UWS Academic Portal Islamic religion and death metal music in Indonesia James, Kieran; Walsh, Rex John Published in: Journal of Popular Music Studies DOI: 10.1525/jpms.2018.200007 Published: 30/09/2018 Document Version Peer reviewed version Link to publication on the UWS Academic Portal Citation for published version (APA): James, K., & Walsh, R. J. (2018). Islamic religion and death metal music in Indonesia. Journal of Popular Music Studies, 30(3), 129-152. https://doi.org/10.1525/jpms.2018.200007 General rights Copyright and moral rights for the publications made accessible in the UWS Academic Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 23 Sep 2021 "This is the peer reviewed version of the following article: James, K. and Walsh, R. (2018) Islamic religion and death metal music in Indonesia - Part 1. Journal of Popular Music Studies. Vol. 30(3), pp. XX which has been published in final form at [Link to final article using the DOI]. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Use of Self-Archived Versions." https://authorservices.wiley.com/author-resources/Journal-Authors/licensing/self-archiving.html To be completed on publication. Islamic Religion and Death Metal Music in Indonesia: Part 1 Abstract The Bandung (Indonesia) Death Metal scene is known for its secular orientation whereby religion and religious belief are viewed as private matters which should be restricted to the private realm. -
1 This Isn't Paradise, This Is Hell: Discourse, Performance and Identity in the Hawai'i Metal Scene a Dissertation Submitte
1 THIS ISN’T PARADISE, THIS IS HELL: DISCOURSE, PERFORMANCE AND IDENTITY IN THE HAWAI‘I METAL SCENE A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN AMERICAN STUDIES DECEMBER 2012 By Benjamin Hedge Olson Dissertation Committee: Kathleen Sands, Chairperson David E. Stannard Vernadette Gonzalez Roderick Labrador Helen J. Baroni Keywords: metal, popular music, popular culture, religion, subculture, Hawai‘i 2 Abstract The island of Oahu is home to probably the most ethnically diverse metal scene in the United States. Contemporary Hawai`i prides itself on being a “model of multiculturalism” free of the racism and ethnic strife that is endemic to the continent; however, beneath this superficial openness and tolerance exist deeply felt class, ethnic, and racial tensions. The metal scene in Hawai`i experiences these conflicting impulses towards inclusion and exclusion as profoundly as any other aspect of contemporary Hawaiian culture, but there is a persistent hope within the metal scene that subcultural identity can triumph over such tensions. Complicating this process is the presence of white military personnel, primarily born and raised on the continental United States, whose cultural attitudes, performances of masculinity, and conception of metal culture differ greatly from that of local metalheads. The misunderstandings, hostilities, bids for subcultural capital, and attempted bridge-building that take place between metalheads in Hawai‘i constitute a subculturally specific attempt to address anxieties concerning the presence of the military, the history of race and racism in Hawai`i, and the complicated, often conflicting desires for both openness and exclusivity that exist within local culture. -
Aria and the Development of Soviet Metal Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Nottingham ePrints Delusions of Grandeur? Aria and the Development of Soviet Metal Music. Dawn Hazle 4260063 Submission for the Award of Master of Arts (by Research), Russian and Slavonic Studies September 2017 Contents: Introduction .................................................................................................. p. 3 A note on transliteration, translation and band names ........................ p. 3 Background: the Soviet Union at the time of heavy metal ................. p. 3 Metal music and culture in the Soviet Union ..................................... p. 7 Chapter One: Metal music and culture: roots, routes and concepts ..... p. 10 On the subject of the subjective ........................................................ p. 10 The roots of heavy metal: scholarship .............................................. p. 14 Globalisation and glocalisation......................................................... p. 21 Metal and socialism .......................................................................... p. 28 Metal terminology ............................................................................ p. 32 The problem of analysing lyrics ....................................................... p. 39 Using fan reviews: problems of mythologisation ............................. p. 42 Conclusion to chapter one ................................................................ p. 44 Chapter Two: Metal music and culture in Soviet -
The Thematical and Stylistic Evolution of Heavy Metal Lyrics and Imagery from the 70S to Present Day
1 Jeroen Buts Master Engels The Thematical and Stylistic Evolution of Heavy Metal Lyrics and Imagery From the 70s to Present Day Master scriptie Faculteit Letteren en Wijsbegeerte Promotor: Prof. Dr. Gert Buelens 2 Prologue You cannot make me feel guilty/ I don't give a shit about respect I won't join your moral masturbation/ I'm the prodigal son gone off the tracks You cannot make me feel sorry/ I don't give a damn about your pride I'm the cat-piss on your carpet/ The last crushing thought before you die Don't fit in your picture Don't fit in your world Don't match all the lies you feed your kids Feel no loyalty/ This deal was made without me Sure I never signed it/ Your contracts don't apply to me I'll fuck your dog/ Do you still wanna get along with me? I'd rape your daughter/ On payment of a small fee I'll fuck your dog/ Do you still wanna get along with me? I'd rape your daughter/ How much would you pay? (“Dead Serious and Highly Professional”, The Ocean) If someone were to tell you, dear reader, that heavy metal is just a louder, faster and more formulaic version of that popular musical genre which defined the late 70s, called hard rock, that someone would probably be wrong. The above lyric contains several elements which indicate just how incomplete such a statement would be. Most importantly, it divides those who read it almost instantly: a metal fan, even if his taste is for a different subgenre of metal, will recognize a specific quality in this text. -
Heavy Metal the Music and Its Culture, Revised Edition
Deena Weinstein Contents I I I Appreciation Acknowledgments 1 Studying Metal: The Bricolage of Culture 1 2 Heavy Metal: The Beast that Refuses to Die 1 3 Making the Music: Metal Gods 4 Digging the Music: Proud Pariahs 5 Transmitting the Music: Metal Media ( 6 The Concert: Metal Epiphany 7 Maligning the Music: Metal Detractors 8 Metal in the '90s I Appendix A: Suggested Hearings: 100 Definitive Metal Albums 295 Appendix 3: Gender Preferences for Metal Subgenres 299 Appendix C: Proportion of Heavy Metal Albums in Billboard's Top 100 301 About the Author 353 Appreciation Iam greatly indebted to a multitude of generous people who helped to make this book possible in both its original version and in this new revised edition. They have come from all corners of the metal and academic worlds-musicians, fans, and mediators. Much gratitude goes to the legions of metalheads of all ages, genders, and races, from a variety of educational and religious backgrounds, who have shared their insight and pleasure with me. A shout out to those who have gone beyond the call of duty: Denis Chayakovsky, Jim DeRogatis, Joey DiMaio, Natalie DiPietro, Bill Eikost, Paula Hogan, Randy Kertz, Michael Mazur, Paul Natkin, Patrik Nicolic, Rodney Pawlak, Jeff 1 Piek, Kira Schlecter, and Tony7Tavano, E i E 1 Acknowledgments Grateful acknowledgment is made to the following publishers for permission to quote from their work: Straight Arrow Publishers, Inc.: Excerpts from "Money for Nothing and the Chicks for Free," by David Handelman, Rolling Stone, August 13, 1989. By Straight Arrow Publishers, Inc. Copyright 1989. -
Crust Punk: Apocalyptic Rhetoric and Dystopian
CRUST PUNK: APOCALYPTIC RHETORIC AND DYSTOPIAN PERFORMATIVES A Thesis by DAVID ALLEN ROBY Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTERS OF ARTS Chair of Committee, Harris Berger Committee Members, Jayson Beaster-Jones Judith Hamera Josh Heuman Head of Department, Claudia Nelson August 2013 Major Subject: Performance Studies Copyright 2013 David Allen Roby ABSTRACT The main focus of this thesis is to understand the myriad ways in which crust punk as an expressive cultural form creates meaning, forms the basis for social formation (or music scene), and informs the ways in which its participants both interact with and understand the world around them. Fieldwork for this research was conducted during the summer of 2012 in Austin, Texas. Primary methodology included participant observation, semi-structured interviews, and online ethnography. Additional research data was collected over the last five years through my own personal involvement with the crust punk music scene. The first section examines the ways in which crust punk as a genre both continues to evolve by avoiding and disavowing genre definitions and boundaries. The second section addresses my particular experiences with the Austin, Texas crust punk scene. I separate and examine the differences within the scene among and between differing levels of participation in various scene practices. These practices include the everyday practices necessary to maintain the music scene, as well as “anarchist” practices such as squatting, train hopping, transiency, and refusal to work. In the final section, I argue that in the crust punk scene dystopian performatives enable an apocalyptic and dystopic view of the world, building upon Jill Dolan’s theory of utopian performatives. -
University of California, San Diego Locating Experiential
UNIVERSITY OF CALIFORNIA, SAN DIEGO LOCATING EXPERIENTIAL RICHNESS IN DOOM METAL A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Jonathan Nicholas Piper Committee in charge: Professor Nancy Guy, Chair Professor Anthony Burr, Co-Chair Professor Ricardo Dominguez Professor Eun-Young Jung Professor Katharina Rosenberger 2013 Copyright Jonathan Nicholas Piper, 2013 All rights reserved. The Dissertation of Jonathan Nicholas Piper is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Chair University of California, San Diego 2013 iii DEDICATION To Eleanor and Chris, Sophia and Spiros. iv TABLE OF CONTENTS Signature Page........................................................................................................ iii Dedication............................................................................................................... iv Table of Contents.................................................................................................... v List of Figures......................................................................................................... vii Acknowledgements................................................................................................ viii Vita.......................................................................................................................... ix Abstract of the Dissertation...................................................................................