Running with the Devil. Robert Walser
Читать онлайн книгу.
neofascism in contemporary metal, see Hochhauser (2011).
Works Cited
AllMusic. 2014. Heavy metal | Significant albums, artists, and songs. http://www.allmusic.com/subgenre/heavy-metal-ma0000002721, accessed March 10, 2014.
Bakhtin, M. M. 1981. The Dialogic Imagination: Four Essays. Austin: University of Texas Press.
———. 1986. Speech Genres and Other Late Essays, edited by Caryl Emerson and Michael Holquist. Austin: University of Texas Press.
Baulch, Emma. 2007. Making Scenes: Reggae, Punk, and Death Metal in 1990s Bali. Durham, NC: Duke University Press.
Berger, Harris M. 1999. Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience. Music/Culture series. Middletown, CT: Wesleyan University Press.
———. 2004. Horizons of melody and the problem of the self. In Identity and Everyday Life: Essays in the Study of Music, Folklore, and Popular Culture, pp. 43–88. Music/Culture series. Middletown, CT: Wesleyan University Press.
Berman, Marshall. 1982. All That Is Solid Melts into Air: The Experience of Modernity. New York: Simon and Schuster.
Blacking, John. 1973. How Musical Is Man? London: University of Washington Press.
Chernoff, John Miller. 1979. African Rhythm and African Sensibility: Aesthetics and Social Action in African Musical Idioms. Chicago: University of Chicago Press.
Encyclopaedia Metallum: The Metal Archives. 2014. Browse bands by genre. http://www.metal-archives.com/browse/genre, accessed March 10, 2014.
Fast, Susan. 2001. In the Houses of the Holy: Led Zeppelin and the Power of Rock Music. Oxford: Oxford University Press.
Feld, Steven. 1990. Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. 2nd edition. Philadelphia: University of Pennsylvania Press.
Fiske, John. 1987. Television Culture. New York: Methuen.
———. 1989. Understanding Popular Culture. Boston: Unwin Hyman.
Frith, Simon. 1981. Sound Effects: Youth, Leisure, and the Politics of Rock ’n’ Roll. New York: Pantheon.
Geertz, Clifford. 1973. The Interpretation of Cultures: Selected Essays. New York: Basic Books.
Greene, Paul D., and David R. Henderson. 2003. At the crossroads of languages, musics, and emotions in Kathmandu. In Global Pop, Local Language, edited by Harris M. Berger and Michael Thomas Carroll, pp. 87–108. Jackson: University of Mississippi Press.
Hall, Stuart. 1981. Notes on deconstructing “the popular.” In People’s History and Socialist Theory, edited by Raphael Samuel, pp. 227–40. London: Routledge.
Hochhauser, Sharon. 2011. The marketing of Anglo-Identity in the North American hatecore metal industry. In Metal Rules the Globe: Heavy Metal Music around the World, edited by Jeremy Wallach, Harris M. Berger, and Paul D. Greene, pp. 161–79. Durham, NC: Duke University Press.
Kahn-Harris, Keith. 2007. Extreme Metal: Music and Culture on the Edge. Oxford: Berg.
Leppert, Richard D., and Susan McClary. 1987. Music and Society: The Politics of Composition, Performance, and Reception. Cambridge: Cambridge University Press.
LeVine, Mark. 2010. Headbanging against Repressive Regimes: Censorship of Heavy Metal in the Middle East, North Africa, Southeast Asia, and China. Copenhagen: Freemuse.
Mahon, Maureen. 2004. Right to Rock: The Black Rock Coalition and the Cultural Politics of Race. Durham, NC: Duke University Press.
Marcus, George E., and Michael M. J. Fischer. 1986. Anthropology as Cultural Critique: An Experimental Moment in the Human Sciences. Chicago: University of Chicago Press.
Marx, Karl. 1977. Capital: A Critique of Political Economy. Vol. 1. New York: Vintage Books.
McClary, Susan. 1991. Feminine Endings: Music, Gender, and Sexuality. Minneapolis: University of Minnesota Press.
Pillsbury, Glenn T. 2006. Damage Incorporated: Metallica and the Production of Musical Identity. New York: Routledge.
Small, Christopher. 1980. Music, Society, Education. London: John Calder.
———. 1987. Music of the Common Tongue: Survival and Celebration in Afro-American Music. New York: Riverrun Press.
Vasan, Sonia. 2011. The price of rebellion: Gender boundaries in the death metal scene. Journal for Cultural Research 15(3): 333–49.
Vološinov, V. N. 1986. Marxism and the Philosophy of Language. Translated by Ladislav Matejka and I. R. Titunik. Cambridge, MA: Harvard University Press.
Wallach, Jeremy. 2008. Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997–2001. Madison: University of Wisconsin Press.
———. 2011. “Unleashed in the East”: Metal music, masculinity, and “Malayness” in Indonesia, Malaysia, and Singapore. In Metal Rules the Globe: Heavy Metal Music around the World, edited by Jeremy Wallach, Harris M. Berger, and Paul D. Greene, pp. 86–105. Durham, NC: Duke University Press.
Wallach, Jeremy, Harris M. Berger, and Paul D. Greene. 2011. Metal Rules the Globe: Heavy Metal Music around the World. Durham, NC: Duke University Press.
Weinstein, Deena. 1991. Heavy Metal: A Cultural Sociology. New York: Lexington Books.
———. 2000. Heavy Metal: The Music and Its Culture. New York: Da Capo.
———. 2011. The globalization of metal. In Metal Rules the Globe: Heavy Metal Music around the World, edited by Jeremy Wallach, Harris M. Berger, and Paul D. Greene, pp. 34–59. Durham, NC: Duke University Press.
Wikipedia. 2014. Heavy metal subgenres. https://en.wikipedia.org/wiki/Heavy_metal_subgenres, accessed March 10, 2014.
Wong, Cynthia P. 2011. “A Dream Return to Tang Dynasty”: Masculinity, male camaraderie, and Chinese heavy metal in the 1990s. In Metal Rules the Globe: Heavy Metal Music around the World, edited by Jeremy Wallach, Harris M. Berger, and Paul D. Greene, pp. 63–85. Durham, NC: Duke University Press.
Acknowledgments
*
I am grateful for the generosity of the nearly two hundred heavy metal fans from Minnesota, California, Michigan, and Illinois who discussed their music and their lives with me. Through interviews, casual conversations, and questionnaires, their assistance was invaluable in helping me to understand heavy metal. In contrast to the common stereotype of metal fans as sullen and inarticulate, I was surprised by the friendliness and enthusiasm I found among fans and musicians alike. Most fans were pleased to find someone taking their music seriously; they were eager to fill out the questionnaires I circulated at concerts, and far from having to persuade people to let me interview them, I received many more requests to do interviews than I could accommodate. In particular, I thank Peter Del Valle for helping me to set up my first interview with a group of fans.
I have learned from conversations about heavy metal and popular culture with many other people, particularly Chris Kachian, Csaba Toth, and Metal Mark of GMS. I thank Gary Thomas and the members of his Gay Studies class for an evening spent discussing heavy metal videos and gender construction. My work has benefited from the ideas and criticisms of my students at the University of Michigan, the University of Minnesota, and Dartmouth College, especially those in my Contemporary Popular Music Studies course at Michigan. Thanks also to my metal guitar teacher, Jeff Loven, and to the many other rock musicians I have performed