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We Were Just a Metal Band, and Then We Also Became Educators»

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We Were Just a Metal Band, and Then We Also Became Educators» «We were just a metal band, and then we also became educators» En studie av hvordan metallbandet Sabaton fremstiller fortiden, intensjonene deres og hvordan lytterne reagerer Christian Fredrik Ask Masteroppgave i historie Institutt for arkeologi, historie, kultur- og religionsvitenskap UNIVERSITET I BERGEN Våren 2021 Abstract Title: “We were just a metal band, and then we also became educators”: A study on how the metal band Sabaton portray the past, their intentions for doing so and how their listeners respond. This thesis is a study on how the Swedish metal band Sabaton conveys the past in their music, their intentions and messaging in their songs, and how listeners respond to this. This is done by analysing a selection of their songs based on three different separated themes, by using Philippe Carrard’s “minimalistic narratives” term to find out what story is conveyed by the lyrics, and what kind of moral or political message can be interpreted from it. The band’s intentions are interpreted by analysing statements made by the band’s frontmen, Joakim Brodén and Pär Sundström. The response of the listeners is gathered by analysing comment sections on YouTube videos of both official and unofficial videos of the band’s music. In general, Sabaton portray the past to entertain their listeners. Their intentions for doing so are largely commercial. For the listeners, Sabaton’s music fulfils other uses for historical functions than just entertainment: it has existential, scientific, legitimising and identity- creating functions. Sabaton’s music allows the listeners to immerse themselves in the past. i Forord I mange år har jeg kunne betegnet meg selv som to ting: «metalhead» og «historienerd». Disse to merkelappene, eller identitetsmarkørene, hadde lenge levd som to adskilte men likevel viktige deler av min identitet. Mye endret seg da jeg for rundt 10 år siden oppdaget det svenske metallbandet Sabaton. Jeg husker fortsatt diskusjonene jeg hadde med en kamerat av meg om hva den historiske konteksten som bandet sang om faktisk handlet om. Jeg har i anledning denne oppgaven bladd gjennom disse diskusjonene jeg hadde med kameraten min. Konteksten var en diskusjon vi hadde i 2014 om låten «Far from the Fame» fra albumet Heroes, en låt som omhandler historien og skjebnen til en tsjekkisk flyger etter andre verdenskrig. Jeg uttrykte til min kamerat at låten gav meg en følelse av «tsjekkoslovakisk nasjonalistisk stolthet», selv om jeg ikke er derfra. I dag vekker kommentaren min en liten følelse av flauhet og undring. Hvorfor kan en låt fra et svensk metallband få en person fra Norge til å føle patriotisme til Tsjekkia, selv om personen har absolutt ingen tilknytning til Tsjekkia? Det er dette spørsmålet som har dannet grunnlaget for at jeg har valgt å skrive om historiebruken til dette bandet seks år senere. Det er flere personer som har vært til stor hjelp og betydd veldig mye for meg under dette prosjektet. En enorm takk og applaus til min veileder, Teemu Ryymin, for to år med gode tilbakemeldinger, støtte og entusiasme. Det har vært to kjekke år med et underholdende tema å skrive om. En nesten like stor takk til min kjære samboer Sandra som har vært en uvurderlig konsulent, logisk stemme og støttespiller uten like. Uten deg hadde jeg ikke kommet meg til hvor jeg er i dag. Jeg vil også takke for gode tilbakemeldinger, kritikk og berettiget slakt fra seminarlederne og mine medstudenter på seminargruppen «Politikk, samfunnsstyring og historiebruk». Jeg vil også takke mine medstudenter for fine diskusjoner på pauserommet som på seminarene, samt gode bordtenniskamper med Rom 313. En stor takk må også gis til Indiana «Indy» Neidell og Tobias «Piscator» Fischer for at de stilte opp til intervju og for deres gode svar på spørsmålene mine. Christian Fredrik Ask ii Innholdsfortegnelse 1. Innledning ........................................................................................................................................ 1 1.1 Tema .............................................................................................................................................. 1 1.2 Problemstilling .............................................................................................................................. 2 1.3 Tidligere forskning ........................................................................................................................ 4 1.4 Kilder, teori og metoder ................................................................................................................ 7 2. Første analysekapittel – De nasjonalpatriotiske låtene .................................................................. 16 2.1 Israel – «Counterstrike» - Seksdagerskrigen i 1967 .................................................................... 16 2.1.1 Analyse av låttekst ................................................................................................................ 16 2.1.2 Intensjon ............................................................................................................................... 17 2.1.3 Resepsjon .............................................................................................................................. 18 2.2 Storbritannia - «Back in Control» – Falklandskrigen i 1982 ....................................................... 20 2.2.1 Analyse av låttekst ................................................................................................................ 20 2.2.2 Intensjon ............................................................................................................................... 21 2.2.3 Resepsjon: ............................................................................................................................ 22 2.3 Polen - «40:1» - Forsvaret av Polen under andre verdenskrig..................................................... 24 2.3.1 Analyse av låttekst ................................................................................................................ 25 2.3.2 Intensjon ............................................................................................................................... 25 2.3.3 Resepsjon .............................................................................................................................. 26 2.4 Polen - «Uprising» – den polske motstandsbevegelsen ............................................................... 27 2.4.1 Analyse av låttekst ................................................................................................................ 27 2.4.2 Intensjon ............................................................................................................................... 28 2.4.3 Resepsjon .............................................................................................................................. 28 2.5 Polen - «Winged Hussars» – Slaget ved Wien i 1683 ................................................................. 30 2.5.1 Analyse av låttekst ................................................................................................................ 30 2.5.2 Intensjon ............................................................................................................................... 31 2.5.3 Resepsjon .............................................................................................................................. 31 2.6 Hellas - «Coat of Arms» – Den gresk-italienske krigen under andre verdenskrig ...................... 34 2.6.1 Analyse av låttekst ................................................................................................................ 34 2.6.2 Intensjon ............................................................................................................................... 35 2.6.3 Resepsjon .............................................................................................................................. 35 2.7 Hellas - «Sparta» – Slaget ved Termopylene 489 f.v.t. ............................................................... 37 2.7.1 Analyse av låttekst ................................................................................................................ 37 2.7.2 Intensjon ............................................................................................................................... 38 2.7.3 Resepsjon .............................................................................................................................. 38 2.8 Tsjekkia - «Far from the Fame» - Den tsjekkiske pilothelten ..................................................... 40 2.8.1 Analyse av låttekst ................................................................................................................ 40 iii 2.8.2 Intensjon ............................................................................................................................... 40 2.8.3 Resepsjon .............................................................................................................................. 41 2.9 Skottland - «Blood of Bannockburn» – Slaget ved Bannockburn i 1314 ................................... 42 2.9.1 Analyse av låttekst ................................................................................................................ 42 2.9.2 Intensjon ............................................................................................................................... 43 2.9.3 Resepsjon .............................................................................................................................
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