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METAL RULES THE GLOBE

DUKE UNIVERSITY PRESS

Contents

Affective Overdrive, Scene Dynamics, and Identity in the Global Metal Scene Jeremy Wallach, Harris M. Berger, and Paul D. Greene..........................................3The Globalization of Metal Deena Weinstein................................................................................................................................34"A Dream Return to Tang Dynasty": Masculinity, Male Camaraderie, and Chinese Heavy Metal in the 1990s Cynthia P. Wong.....................................................63Unleashed in the East: Metal Music, Masculinity, and "Malayness" in Indonesia, Malaysia, and Singapore Jeremy Wallach.....................................................86Electronic and Affective Overdrive: Tropes of Transgression in Nepal's Heavy Metal Scene Paul D. Greene...................................................................109Otherwise National: Locality and Power in the Art of Sepultura Idelber Avelar.............................................................................................135The Marketing of Anglo- Identity in the North American Hatecore Metal Industry Sharon Hochhauser..........................................................................161Musical Style, Ideology, and Mythology in Norwegian Black Metal Ross Hagen................................................................................................180"You Are from Israel and That Is Enough to Hate You Forever": Racism, Globalization, and Play within the Global Extreme Metal Scene Keith Kahn-Harris.....................200Arenas of the Imagination: Global Tours and the Heavy Metal Concert in the 1970s Steve Waksman............................................................................227Thunder in the Far East: The Heavy Metal Industry in 1990s Japan Kei Kawano and Shuhei Hosokawa...........................................................................247Metal in a Micro Island State: An Insider's Perspective Albert Bell.......................................................................................................271Noisy Crossroads: Metal Scenes in Slovenia Rajko Mur?ic..............................................................................................................294Nako: The Metal in the Marrow of Easter Island Music Dan Bendrups.........................................................................................................313AFTERWORD Robert Walser...................................................................................................................................................333ACKNOWLEDGMENTS............................................................................................................................................................337WORKS CITED................................................................................................................................................................339CONTRIBUTORS...............................................................................................................................................................367INDEX......................................................................................................................................................................371

Chapter One

Jeremy Wallach, Harris M. Berger, and Paul D. Greene

We would like to thank all our fans and friends all over the world, from Jakarta to Moscow!!—Sepultura, 1993 (liner notes for the album Chaos A.D.)

We are here because we cannot live without our music. Every drumbeat I hear reminds me of the beat of my heart.—Sameh Youssef, a twenty-three-year-old computer science student attending a heavy metal concert outside Cairo (quoted in "Rockin' in the Islamic World," 2006)

Come! Bang your heads to the Dark Rock N' Roll!!!—Holy Flesh Records press release for Dark, a cassette by the Indonesian black metal band Bealiah (ca. 2000)

The band takes the stage and launches into its first song. The music is distorted, pounding, and brutal, and it is so loud that it seems to fill in the space between the musicians and the audience members. Sweat pours down the singer's face as he bellows the lyrics in a voice that is half rasp, half scream. The instrumentalists— bass guitarist, electric guitarist, and drummer—gnash their teeth and grimace as if in pain as they concentrate on bashing out their parts. Some in the predominantly, but not exclusively, male audience respond to the music with moshing (a dance involving intentional collisions with other dancers) and headbanging (rhythmic up-and-down movements of the head and neck), their flailing bodies contorting to the beat. Performers and audience are dressed alike—jeans, T-shirts, and long hair or buzz cuts—and they play their roles at the concert as though their lives depended on it. And perhaps, in a sense, they do. Metal around the world has become a viable mode of resistance, of identity assertion, and of self-empowerment, often in the face of powerful, totalizing, and even life-threatening forces.

The concert described above took place in 2002 in Cleveland's Grog Shop, the venerable rock club in that city's trendy Coventry Village section, but it could easily have taken place in Tokyo, Kathmandu, Jakarta, Tel Aviv, Rio de Janeiro, Beijing, Oslo, or any number of other sites the world over in the last fifteen years. Yet the fact that metal music, fashion, and behavior exist in all these places does not necessarily imply that they mean the same things in these quite different cultural contexts. The chapters in this book demonstrate that in every setting, metal is embedded in local cultures and histories and is experienced as part of a complex and historically specific encounter with the forces of modernity. The globalization of metal is well upon us, and with this book we hope to both investigate the specific, variable meanings of heavy metal music and culture for metalheads around the world and contribute insights into the large-scale social processes that have facilitated the music's dramatic worldwide expansion.

METAL GOES GLOBAL

The term heavy metal has come to denote a cluster of rock music styles that emphasize loud, distorted guitars; prominent and aggressive drums; emotionally extreme singing techniques; and musical complexity and esotericism (unlike punk, for instance). Frequently misunderstood and maligned in its countries of origin, heavy metal music has in the last four decades become a potent source of meaning and identity for young and no-longer-so-young people across the planet. These fans have stayed loyal to the music despite societal disapproval, occasional moral panics, censorship, and even government harassment and violence. Metal Rules the Globe is the first academic book to explore the broad swath of metal's worldwide growth and examine why this often devalued, censored, and ridiculed music genre has attracted so many devoted fans in far-flung locales. Fans and musicians initially developed connections across vast distances through transnational networks of photocopied fanzines, paper correspondence, audiocassette trading, concert tours big and small (see Waksman, this volume), and a loosely shared canon of "classic" metal albums; now they use e-mail, Web sites, blogs, YouTube, and...