Metal Music Studies最新文献

Death of a guitar hero: The art of metal reputation maintenance 吉他英雄之死：维护金属声誉的艺术

Metal Music Studies Pub Date : 2023-06-01 DOI: 10.1386/mms_00104_1

Bernard East

{"title":"Death of a guitar hero: The art of metal reputation maintenance","authors":"Bernard East","doi":"10.1386/mms_00104_1","DOIUrl":"https://doi.org/10.1386/mms_00104_1","url":null,"abstract":"Combining insights from identity, gender and ethnicity studies while incorporating notions of the sacred, the death of guitar hero, Randy Rhoads, in a plane crash in 1982 is addressed to establish how maintenance of Rhoads’s reputation as a saintly, innocent character who died because of a mysterious accident has been constructed and maintained for over forty years. Situating his death in a comparative analysis with premature deaths of other guitarists, Tommy Bolin and Allen Collins, in addition to artists from other musical genres, Amy Winehouse, Whitney Houston and Donna Summer, frames of similarities and differences emerge to reveal how identity and reputation is achieved and maintained after death within heavy metal but also in other genres. Three specific tropes including accident equals innocence, transgression equals recklessness and transgression equals criminality are defined and applied throughout. These reveal that posthumous identity, be it positive or negative, is actively constructed and is imbued at times with gendered and racial elements. Via the application of criticality, the findings show how the posthumous consecration of Rhoads and other decedents is accomplished via selective emphasis on particular claims and the silencing of others, with locus of responsibility for a tragic death, either internal or external, being crucial.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46273373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Bezugnahmen auf den Nationalsozialismus in der populären Musik: Lesarten zu Laibach, Death in June, Feindflug, Rammstein und Marduk, Reinhard Kopanski (2022) 流行音乐中对国家社会主义的引用：读莱巴赫、六月之死、芬德夫格、拉姆斯坦和马尔杜克、莱因哈德·科潘斯基（2022）

Metal Music Studies Pub Date : 2023-06-01 DOI: 10.1386/mms_00108_5

Anna-Katharina Höpflinger

引用次数: 0

Baroque metaphors and Nietzschean influence in Vivaldi Metal Project’s The Four Seasons 巴洛克隐喻与尼采对维瓦尔第金属计划《四季》的影响

Metal Music Studies Pub Date : 2023-06-01 DOI: 10.1386/mms_00106_1

Sara Santa-Aguilar

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Editorial 编辑

Metal Music Studies Pub Date : 2023-06-01 DOI: 10.1386/mms_00102_2

Nelson Varas-Díaz, Nedim Hassan, Ross Hagen, Niall Scott

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Lorna Shore’s ‘To the Hellfire’: A study in heaviness 洛娜·肖尔的《地狱之火》：沉重感研究

Metal Music Studies Pub Date : 2023-06-01 DOI: 10.1386/mms_00105_1

Jan Herbst, M. Mynett

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Heavy Metal Armour: A Visual Study of Battle Jackets, Thomas Cardwell (2022) 《重金属盔甲:战斗夹克的视觉研究》，托马斯·卡德威尔著(2022)

Metal Music Studies Pub Date : 2023-06-01 DOI: 10.1386/mms_00109_5

Jan-Martijn Meij

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Joker to the thief: Trickster guitarists in 1970s stadium rock 小丑对小偷:70年代体育场摇滚中的魔术师吉他手

Metal Music Studies Pub Date : 2023-06-01 DOI: 10.1386/mms_00103_1

Matthew Bannister

{"title":"Joker to the thief: Trickster guitarists in 1970s stadium rock","authors":"Matthew Bannister","doi":"10.1386/mms_00103_1","DOIUrl":"https://doi.org/10.1386/mms_00103_1","url":null,"abstract":"How and why did the lead guitarist as trickster become a trope of 1970s stadium rock? Rock and roll and its interpretation were influenced by blackface minstrelsy, African American Signifying, and European traditions of foolery, all featuring quasi-demonic, protean figures who amuse, challenge, subvert, shock, but from the margins – eternally shifty, ambiguous antagonists who ‘play’ on paradoxes of rock mythology: (non-)conformity, (in)articulacy and power(lessness). In the increasingly theatrical, spectacular arena of 1970s stadium/hard rock/metal, the trickster guitarist signified as part of a homosocial rock group, as a version of the Signifying Monkey or blues trickster and as an echo of minstrelsy. The essay seeks to understand onstage performances as dramatic spectacles marked by ‘trinary’, competitive, Signifying/mocking, homosocial relationships between trickster lead guitarists, singers and their audiences. These conflicts can also be read as exemplifying the postmodern ambiguity that Lawrence Grossberg identifies in the 1970s rock formation, via consideration of the singer as Logos (heroic voice) and trickster guitarist as mockery of the same. Examples are Angus Young (AC/DC) and Rick Nielsen (Cheap Trick). In conclusion, I argue that punk rock rendered tricksters temporarily redundant by making their trickery ubiquitous, although, thanks to generic/audience fragmentation and the ubiquity of classic rock, they continue to this day.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42585267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Don’t Break the Oath, Henrik Marstal (2022) 不要违背誓言，Henrik Marstal（2022）

Metal Music Studies Pub Date : 2023-06-01 DOI: 10.1386/mms_00110_5

Wolf-Georg Zaddach

引用次数: 0

A pseudo-rebellion: Ujung Berung metalheads in the contestation of identity space in Bandung, 2010–22 一场伪叛乱：2010–22年，万隆身份空间之争中的乌荣·贝隆金属头

Metal Music Studies Pub Date : 2023-06-01 DOI: 10.1386/mms_00107_1

Z. Alkatiri, Mochamad Aviandy, Fajar Muhammad Nugraha, Hawe Setiawan, Melisa Indriana Putri

{"title":"A pseudo-rebellion: Ujung Berung metalheads in the contestation of identity space in Bandung, 2010–22","authors":"Z. Alkatiri, Mochamad Aviandy, Fajar Muhammad Nugraha, Hawe Setiawan, Melisa Indriana Putri","doi":"10.1386/mms_00107_1","DOIUrl":"https://doi.org/10.1386/mms_00107_1","url":null,"abstract":"Social segregation in Bandung, Indonesia, is the primary cause of stratification of youths in the city’s northern, southern and eastern regions. As a region filled with colonial legacy and inhabited by the upper-middle class, northern Bandung is equipped with infrastructures for youth activities. Southern and eastern Bandung, on the other hand, carries an image of rather undeveloped regions. This social, political and economic background has prompted Bandung youths to compete among each other, specifically in terms of expressing their identity through music. In particular, youths from Ujung Berung express their identity through metal music due to the genre’s perceived capability of conveying youth aspirations, marginality and identity expression in public space. Through djent and headbanging, these youths held onto a do-it-yourself (DIY) ethos to fight against political and capital-related power. Nonetheless, as the movement developed, these youths failed to compete with the capital of major record labels. With these issues as a background, this article aims to examine the youths’ rally against the power of politics and capital. We assume that their resistance against the contestation of identity space in 2010–22 Bandung consists of four layers. Based on the data we gathered during observation, we argue that the youths’ resistance was rather a pseudo act which granted them mobility to a higher social status. This article is a result of a six-month qualitative research project conducted from June to November 2022 in Bandung. The data were gathered from various relevant sources, including books, articles, media social news coverage and other internet sources. In addition, twelve informants actively involved in the Bandung metal scene were interviewed. A cultural studies approach was taken during the whole process of observation and analysis of the aforementioned data and phenomena.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46012229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Pure fucking art: Self-harm and performance art in Per ‘Dead’ Ohlin’s musical legacy 纯粹的艺术：Per‘Dead’Ohlin音乐遗产中的自残和行为艺术

Metal Music Studies Pub Date : 2023-03-01 DOI: 10.1386/mms_00096_1

Joshua Carey

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引用次数: 0