In Heavy Metal Music in Latin America: Perspectives from the Distorted South, the editors bring together scholars engaged in the study of heavy metal music in Latin America to reflect on the heavy metal genre from a regional perspective. The contributors' southern voices diversify metal scholarship in the global north. An extreme musical genre for an extreme region, the contributors explore how issues like colonialism, dictatorships, violence, ethnic extermination and political persecution have shaped heavy metal music in Latin America, and how music has helped shape Latin American culture and politics.

Rock 'n' Roll Movies presents an eclectic look at the many manifestations of rock in motion pictures, from teen-oriented B-movies to Hollywood blockbusters to avant-garde meditations to reverent biopics to animated shorts to performance documentaries. Acclaimed film critic David Sterritt considers the diverse ways that filmmakers have regarded rock 'n' roll, some cynically cashing in on its popularity and others responding to the music as sincere fans, some depicting rock as harmless fun and others representing it as an open challenge to mainstream norms.

The year was 1979, and a brash new breed of heavy metal-maker was busy shovelling dirt over the death of punk, while simultaneously mourning the waning energies - or outright demises - of hard rock's earlier heroes, namely Led Zeppelin, Deep Purple, Black Sabbath and Uriah Heep. In Wheels of Steel: The Explosive Early Years of the NWOBHM, Martin Popoff charts the long ramp-up to this detonation of headbanging mania through the late `70s, arriving at the penultimate first years of this flash phenomenon - namely 1979 and 1980. Utilising his celebrated oral history method - rich with detailed chronological entries to frame the story, Popoff blasts through all of the reasons the NWOBHM had to happen, and then drops down on all the singles, albums, live events and conceptual trends studding those remarkable two years, an era that essentially marks a coming-out party for heavy metal. Come join Martin, along with dozens of his old school headbanging buddies, as they together tell the tale of this ersatz genre's birth and mischievous, defiant adolescence - heavy metal would forever be transformed, and Wheels of Steel celebrates plainly and yet powerfully, all the reasons why.

Heavy-metal survivors Metallica are one of the most important bands on the planet. Formed in 1981, James Hetfield, Kirk Hammett and Lars Ulrich have sustained their reign over the hearts and minds of millions of devoted fans for over three decades. Rock journalist Paul Stenning comes face to face with this particular breed of monster to reveal the unique blend of fearless reinvention, integrity and resilience that have ensured Metallica s unrivaled status as multi-platinum-selling metal royalty with a place in the Rock and Roll Hall of Fame. The personal tragedy, petty rivalries and all-consuming addictions that have threatened to eclipse the band s blistering achievement at every step are no secret from the tragic loss of bassist Cliff Burton in 1986 to the remaining members prolonged mistreatment of new recruit Jason Newsted, Hetfield s life-threatening alcoholism and Ulrich s relentless pursuit of success at any price. In the wake of Metallica s resounding comeback with 2008 LP "Death Magnetic," this book takes an incisive look at all they ve survived and the classic albums they recorded while doing so, including the adrenaline-fueled thrash of debut "Kill Em All" and the infectious, radio-borne riffs of mainstream crossover the "Black Album." Stripping away decades of empty hype, "Metallica: All That Matters" uncovers every last detail of Metallica s chequered past, chronicling the highs and lows that took the group from stadium to courtroom to rehab, whilst attempting to unravel some of the most profound contradictions of all. Featuring unseen interviews from forgotten friends and ex-lovers, this is the complete, no-holds-barred guide to the band all that matters for Metallica fans of every generation.

Heavy metal is a mythical genre of heroes, outlaws, ominous gods, grotesques, and monsters. It is a proud world of intense battles with chaos and confrontation with modern alienation. Myth pervades heavy metal. Its visual elements draw upon the horror story or film, suggesting chaos and disruption. It calls forth images of Promethean rebellion and mythic heroism, adopting a proud and determined oppositional stance to the conventional. It often intends to appear ominous, threatening, and disturbing. Heavy metal is in dialogue with our contemporary world. When its discourse of power and imagination appeals to ancient mythology, heavy metal offers us fresh perspectives on our current situation. Myths seek to take us beyond ordinary perception. Mythic stories, however fantastic, connect with human experience. They are revised and retold across generations and these revisions bring the myths alive within each new cultural context. Myths, legends, and folk tales may be recited or sung for the delight of audiences. They are entertaining and also can be told for a serious purpose. Rock song lyrics are a form of popular literature that suggest attitudes or tell stories and continue myth's involvement in creating meaning. Previous book-length studies have tended to investigate heavy metal from the perspectives of sociology, musicology, or cultural studies. There has also been much work in psychology on the impact of heavy metal on youth. This study of myth and metal is an attempt to approach heavy metal primarily from a mythological and literary perspective.

It is common to hear heavy metal music fans and musicians talk about the "metal community". This concept, which is widely used when referencing this musical genre, encompasses multiple complex aspects that are seldom addressed in traditional academic endeavors including shared aesthetics, musical practices, geographies, and narratives. The idea of a "metal community" recognizes that fans and musicians frequently identify as part of a collective group, larger than any particular individual. Still, when examined in detail, the idea raises more questions than answers. What criteria are used to define groups of people as part of the community? How are metal communities formed and maintained through time? How do metal communities interact with local cultures throughout the world? How will metal communities change over the lifespan of their members? Are metal communities even possible in light of the importance placed on individualism in this musical genre? These are just some of the questions that arise when the concept of "community" is used in relation to heavy metal music. And yet in the face of all these complexities, heavy metal fans continue to think of themselves as a unified collective entity. This book addresses this notion of "metal community" via the experiences of authors and fans through theoretical reflections and empirical research. Their contributions focus on how metal communities are conceptualized, created, shaped, maintained, interact with their context, and address internal tensions. The book provides scholars, and other interested in the field of metal music studies, with a state of the art reflection on how metal communities are constituted, while also addressing their limits and future challenges.

Dans le black metal, il n'y a que Satan... Le Black Metal a toujours fascine les foules, tant par l'aspect musical extreme que par l'imagerie satanique associee. Ce best-seller "Black Metal Satanique: La Verite sur l'Histoire du Black Metal Blasphematoire" d'Antoine Grand explore les spheres les plus obscures de la troisieme vague de black metal, la plus extreme, et devoile les secrets les mieux gardes de groupes influents de black metal tels que Von, Sewer ou Phantom. Oserez-vous explorer les pires atrocites du black metal satanique, ou musiques diaboliques et blasphematoires se melent a adorations de l'occulte et de Lucifer ?

But before Whitesnake-and life on the road with former Deep Purple singer David Coverdale-became a chaotic reality, Moody had already formed a teenaged band with Free's Paul Rodgers, played with Juicy Lucy, been a founder member of Snafu and worked as an in-demand session musician. This saw him play with performers whose egos, neuroses-and, in some cases, supreme talent-led to some memorable encounters, giving him the opportunity to contribute, with some gusto, to the hedonism of the Seventies. His musical footprint has been nothing short of epic. But how did such a party-loving, excess-fueled outfit as Whitesnake conquer the mighty world of hard rock-and at what cost? Outrageous stories about catastrophic narcotic mix-ups and infamous groupies come as thick and fast as the band's musical output itself. However, with success comes a price, and as global domination, commercial success and late-night carousing began to give way to suspicion, greed and the repercussions of excess on the road, serious fallout was inevitable. In his memoirSnakes and Ladders, Micky relates his musical odyssey with fondness and a wry sense of humour. From, guitar lessons to guitar hero, this is his story of climbing the ladder-and surviving the 'Snake.

Lamb of god vocalist D. Randall Blythe finally tells the whole incredible story of his arrest, incarceration, trial, and acquittal for manslaughter in the Czech Republic over the tragic and accidental death of a concertgoer in this riveting, gripping, biting, bold, and brave memoir.On June 27, 2012, the long-running, hard-touring, and world-renowned metal band lamb of god landed in Prague for their first concert there in two years. Vocalist D. Randall "Randy" Blythe was looking forward to a few hours off,a rare break from the touring grind,in which to explore the elegant, old city. However, a surreal scenario worthy of Kafka began to play out at the airport as Blythe was detained, arrested for manslaughter, and taken to Pankrac Prison,a notorious 123-year-old institution where the Nazis' torture units had set up camp during the German occupation of then-Czechoslovakia, and where today hundreds of prisoners are housed, awaiting trial and serving sentences in claustrophobic, sweltering, nightmare-inducing conditions.Two years prior, a 19-year-old fan died of injuries suffered at a lamb of god show in Prague, allegedly after being pushed off stage by Blythe, who had no vivid recollection of the incident. Stage-crashing and -diving being not uncommon occurrences, as any veteran of hard rock, metal, and punk shows knows, the concert that could have left him imprisoned for years was but a vague blur in Blythe's memory, just one of the hundreds of shows his band had performed over their decades-long career.At the time of his arrest Blythe had been sober for nearly two years, having finally gained the upper hand over the alcoholism that nearly killed him. But here he faced a new kind of challenge: jailed in a foreign land and facing a prison sentence of up to ten years. Worst of all, a young man was dead, and Blythe was devastated for him and his family, even as the reality of his own situation began to close in behind Pankrac Prison's glowering walls of crumbling concrete and razor wire.What transpired during Blythe's incarceration, trial, and eventual acquittal is a rock'n' roll road story unlike any other, one that runs the gamut from tragedy to despair to hope and finally to redemption. While never losing sight of the sad gravity of his situation, Blythe relates the tale of his ordeal with one eye fixed firmly on the absurd (and at times bizarrely hilarious) circumstances he encountered along the way. Blythe is a natural storyteller and his voice drips with cutting humour, endearing empathy, and soulful insight. Much more than a tour diary or a prison memoir, Dark Days is D. Randall Blythe's own story about what went down,before, during, and after,told only as he can.

Death metal is one of popular music's most extreme variants, and is typically viewed as almost monolithically nihilistic, misogynistic, and reactionary. Michelle Phillipov's Death Metal and Music Criticism: Analysis at the Limits offers an account of listening pleasure on its own terms. Through an analysis of death metal's sonic and lyrical extremity, Phillipov shows how violence and aggression can be configured as sites for pleasure and play in death metal music, with little relation to the "real" lives of listeners. In some cases, gruesome lyrical themes and fractured song forms invite listeners to imagine new experiences of the body and of the self. In others, the speed and complexity of the music foster a "technical" or distanced appreciation akin to the viewing experiences of graphic horror film fans. These aspects of death metal listening are often neglected by scholarly accounts concerned with evaluating music as either 'progressive' or "reactionary." By contextualizing the discussion of death metal via substantial overviews of popular music studies as a field, Phillipov's Death Metal and Music Criticism highlights how the premium placed on political engagement in popular music studies not only circumscribes our understanding of the complexity and specificity of death metal, but of other musical styles as well. Exploring death metal at the limits of conventional music criticism helps not only to develop a more nuanced account of death metal listening it also offers some important starting points for rethinking popular music scholarship as a whole."

After a career that has spanned three decades and included 100 million albums sold worldwide, nine Grammy Awards, and an induction into the Rock and Roll Hall of Fame, Metallica has firmly established itself as one of the preeminent musical acts of all time, embodying as no other band has a passion for the sound and frenzy of heavy metal. This account takes a chronological look at the band's long history, delving into the band members' personal lives and the band's records and videos, and provides a wealth of anecdotes and trivia. The authors, both music specialists, also dissect lead songwriter James Hetfield's lyrics and offer an appendix with unrivaled information on the instruments, effects, and amps used by the bands during each period and on each record.

Heavy metal is now over 40 years old. It emerged at the tail end of the 1960s in the work of bands including Iron Butterfly, Vanilla Fudge, Jimi Hendrix, Deep Purple, Led Zeppelin and - most importantly - Black Sabbath. In the 1970s and early 1980s, heavy metal crystallised as a genre as bands such as Judas Priest and Iron Maiden removed most of the blues influence on the genre, codifying a set of basic metal characteristics that endure to this day: distorted guitars, aggressive vocals, denim, leather and spikes. In broad terms, wherever it is found and however it is played, metal tends to be dominated by a distinctive commitment to 'transgressive' themes and musicality causing it to be frequently seen as controversial music. Controversies surrounding the alleged (and often documented) connection between heavy metal and, variously, sexual promiscuity, occultism and Satanism, subliminal messages, suicide and violence have all made heavy metal a target of moral panics over popular culture. Metal has variously embraced, rejected, played with and tried to ignore this controversy. At times, the controversy dies down and the previously transgressive becomes relatively harmless - as in the transformation of Ozzy Osbourne from public enemy to loveable dad. Still, metal remains irrevocably marked by its controversial, transgressive tendencies. Indeed, the various moral panics that metal has been subjected to are not only constitutive, at least in part, of metal scenes, but are encoded in metal's transgression itself. As with hiphop's "ghetto" roots, metal's history of extreme sonic, lyrical and visual messages continue to give it credibility with new generations of fans today. The aim of this anthology is to analyse the relationship between heavy metal and society within a global context. It provides a thorough investigation of how and why metal becomes controversial, how metal 'scenes' are formed and examines the relationship between metal and society, including how fans, musicians and the media create the culture of heavy metal.

Death metal is one of popular music's most extreme variants, and is typically viewed as almost monolithically nihilistic, misogynistic, and reactionary. Michelle Phillipov's Death Metal and Music Criticism: Analysis at the Limits offers an account of listening pleasure on its own terms. Through an analysis of death metal's sonic and lyrical extremity, Phillipov shows how violence and aggression can be configured as sites for pleasure and play in death metal music, with little relation to the "real" lives of listeners. In some cases, gruesome lyrical themes and fractured song forms invite listeners to imagine new experiences of the body and of the self. In others, the speed and complexity of the music foster a "technical" or distanced appreciation akin to the viewing experiences of graphic horror film fans. These aspects of death metal listening are often neglected by scholarly accounts concerned with evaluating music as either 'progressive' or "reactionary." By contextualizing the discussion of death metal via substantial overviews of popular music studies as a field, Phillipov's Death Metal and Music Criticism highlights how the premium placed on political engagement in popular music studies not only circumscribes our understanding of the complexity and specificity of death metal, but of other musical styles as well. Exploring death metal at the limits of conventional music criticism helps not only to develop a more nuanced account of death metal listening-it also offers some important starting points for rethinking popular music scholarship as a whole.

'A flaming juggernaut of heavy-metal biog' GUARDIAN 'This is the definitive account of heavy metal's biggest band of all' CLASSIC ROCK 'Truly enlightening' ROCK SOUND 'ENTER NIGHT, Mick Wall's biography of Metallica confirms this grizzled veteran to be as engaged and waspishly authoritative a chronicler of metal's most hirsute behemoths as Barry Miles has been for the Beats' INDEPENDENT ON SUNDAY Mick Wall moves on from Led Zeppelin to produce a definitive doorstop on Metallica. Alongside contemporaries Slayer, Megadeath and Anthrax, Metallica came to prominence in the eighties as one of the 'big four' of thrash metal. Metallica were to thrash, though, what the Sex Pistols were to punk. Nearly thirty years on, their tale is one of alcohol, rule breaking and tragically early death. But allied to that are colossal sales figures for their records -- they are the fifth-highest selling recording artists of all time - and members with backgrounds that touch on jazz and classical music. Metallica, in fact, have garnered more critical acclaim than any heavy rock band since Led Zeppelin. Fresh from the critical and commercial success of WHEN GIANTS WALKED THE EARTH, Mick Wall takes a similar informed look at the band, a group he has known on and off since their formation in 1981.

During the past three decades, heavy metal music has gone global, becoming a potent source of meaning and identity for devoted fans around the world. In "Metal Rules the Globe," ethnographers and some of the foremost authorities in the burgeoning field of metal studies analyze this dramatic expansion of heavy metal music and culture. They take readers inside metal scenes in Brazil, Canada, Easter Island, Indonesia, Israel, Japan, Malaysia, Malta, Nepal, Norway, Singapore, Slovenia, and the United States, describing how the sounds of heavy metal and the meanings that metalheads attribute to them vary from culture to culture. The contributors explore heavy metal fandom in relation to masculinity, race, ethnicity, class, and the music industry, and as a means for disenfranchised youth to negotiate modernity and social change. Their essays reveal metal fans as likely to criticize the consumerism, class divisiveness, and uneven development of globalization as they are to reject traditional norms of behavior. Crucially, the contributors never lose sight of the sense of community and sonic pleasure to be experienced in the distorted, pounding, amplified sounds of local metal scenes.

"Contributors." Idelber Avelar, Albert Bell, Dan Bendrups, Harris M. Berger, Paul D. Greene, Ross Hagen, Sharon Hochhauser, Shuhei Hosokawa, Keith Kahn-Harris, Kei Kawano, Rajko Mursič, Steve Waksman, Jeremy Wallach, Robert Walser, Deena Weinstein, Cynthia P. Wong

(FAQ). Unlike any Sabbath book thus far, Black Sabbath FAQ digs deep into quirks, obscure anecdotes, and burning questions surrounding the Sabs. In a fast-moving, topical format, this book covers a tremendous amount of information, delectable to any Sabbath fan, but hard to find in a traditional biography. This rich history lives and breathes and shouts right here. And the voice behind it could not be stronger: Martin Popoff is a heavy metal expert who has authored over 30 books on the subject, including Doom Let Loose, which is widely considered the definitive biography of the band. In Black Sabbath FAQ, Popoff is like a rabid detective unearthing (and sometimes debunking) ancient lore, valiantly covering new ground, applying academic rigor, but then wildly sounding off with lurid opinion. The pendulum swings, and, though disoriented, the serious Sabbath studier is better for it come the book's doomy conclusion. Dozens of images of rare memorabilia make this book a must-have for fans.

More than any other publication EGuitar WorldE magazine has followed Metallica's rise from underground phenomenon to mainstream metal giant. EGuitar World Presents MetallicaE features every one of the facts and figures interviews and stories about the band ever to have appeared in the magazine in one self-contained package. Presented in the chronological order in which they appeared in the magazine the revealing interviews with band members James Hetfield Kirk Hammett Robert Trujillo and Lars Ulrich a as well as former bassists Cliff Burton and Jason Newsted a tell the story of the boys from San Francisco who went on to become the metal men of the world.THThis newly updated and expanded edition features an in-depth 20th anniversary look back at the group's 1986 epic EMaster of PuppetsE; a revealing article about late bassist Cliff Burton's last 24 hours including one of his final interviews; as well as a monumental guitar lesson with lead guitarist Kirk Hammett who examines the techniques and theoretical approach that have made him a hard rock legend. It's all right here in EGuitar World Presents MetallicaE a the myths the memories the triumphs and the tragedies of America's foremost heavy metal team.