Affective Intensities in Extreme Music Scenes: Cases from Australia and Japan

223 Pages·2014·2.027 MB·English

by  Rosemary Overell (auth.)

Affective Intensities in Extreme Music Scenes
PopMusic,CultureandIdentity
Series Editors: Steve Clark, University of Tokyo, Japan, Tristanne Connolly,
St Jerome’s, University of Waterloo, Canada and Jason Whittaker, Falmouth
University,UK
Advisory Board: Chris Best, University College Falmouth, UK, Audrey Faine,
Vice President of Marketing, CBS Records, Gavin Hayes, Musician, USA, John
Hutnyk,Goldsmiths,UniversityofLondon,UK,Allan F. Moore,Universityof
Surrey,UK,RyanMoore,FloridaAtlanticUniversity.USA,JenniferOtter,Uni-
versity of East London, UK, John Phillips, National University of Singapore,
Singapore,CristinaRuotolo,SanFrancisco,USA,KarlSimms,UniversityofLiv-
erpool,UK,WillStraw,McGillUniversity,CanadaandSteveWaksman,Smith
College,USA
Pop music lasts. A form all too often assumed to be transient, commercial and
mass-cultural has proven itself durable, tenacious and continually evolving. As
such, it has become a crucial component in defining various forms of identity
(individualandcollective)asinfluencedbyfactorssuchasnation,class,gender,
ethnicity,location/situation,andhistoricalperiod.
Pop Music, Culture and Identity investigates the implications of this greatly
enhanced status. Particular attention will be paid to issues such as the
iconography of celebrity, the ever-expanding archive, the nature of the
performance-event, the parameters of generational memory, and the impact of
newtechnologiesonglobalmarketing.Inparticular,theseriesaimstohighlight
interdisciplinaryapproachesandincorporatetheinformedtestimonyofthefan
alongsideachallengingdiversityofacademicmethodologies.
RosemaryOverell
AFFECTIVEINTENSITIESINEXTREMEMUSICSCENES
CasesfromAustraliaandJapan
PopMusic,CultureandIdentity
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Affective Intensities in
Extreme Music Scenes
Cases from Australia and Japan
Rosemary Overell
UniversityofOtago,NewZealand
©RosemaryOverell2014
Softcover reprint of the hardcover 1st edition 2014 978-1-137-40676-7
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To Duncan
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Contents
ListofFigures ix
Acknowledgements x
ListofAbbreviations xi
Introduction:AffectiveIntensitiesandBrutalBelonging 1
Settingthescene–globalgrindcoremusic 2
GrindcoremusicinMelbourneandOsaka 5
Scenichomes–affectivebelongingandbrutalbelonging 9
1 AGrislyScene?ExtremeMetalMusic,Belongingand
Ethnography 15
Metalandbelonging 16
Reflectionsonextrememetalandbelonging 23
Anaffectiveethnography 26
Researchmethodsandsampleinformation 31
2 BrutalBelonginginBrutalSpaces 39
Thespaces 39
Brutalrepresentations 41
Brutalplaces 45
Fuck...I’mDead–brutalbelonginginbrutalspaces 51
Brutalbelonging–homelyanduchispaces 63
3 IdiotsandWankers:GrindcoreSociality 73
Brutalsocialityingrindcorescenes 73
Grindcoreanditsothers 76
4 IHateGirlsandEmotions:BrutalSocialityandGender 93
Brutallygenderedsociality 94
‘Hatemen’inOsaka 103
BurningEmos:Disavowingarticulatedemotionsin
grindcore 110
5 BrutalBelonginginOtherSpaces 118
FlowsbetweenMelbourneandOsaka’sgrindcorescenes 119
Australian‘bogans’andJapanese‘warriors’–grindcore
andnationalbelonging 126
vii
viii Contents
RepresentationsofOtherspaces 148
BrutalbelonginginOtherspaces 152
Makingitbrutal 165
Conclusion 170
Appendices 177
Notes 180
Bibliography 187
Index 201
Figures
I.1 ShagnumperformattheCathedralinLaunceston,
Tasmania.Photo:RosemaryOverell,2003 6
I.2 palmandEdgeofSpiritcelebratingafteragigatthe
Arthouse,NorthMelbourne.Photo:DuncanBox,2008 8
2.1 FansinthecirclepitatFreestyleOutro,2010.Photo:
RosemaryOverell,2010 54
2.2 AbandperformsatHokage,wherethereislittledistance
betweentheaudienceandtheperformer.Photo:
DuncanBox 62
2.3 ToiletdoorattheArthousehotelinNorthMelbourne.
Photo:RosemaryOverell,2009 64
4.1 Fuck...I’mDeadperformattheTote.Photo:Rosemary
Overell,2013 102
4.2 MisogynistrepresentationsofwomeninOsakan
grindcorefliers.TheUmagundaneventflierisonthetop
left.Photo:RosemaryOverell,2013 107
5.1 Graham(secondfromleft)atanuchiagewithToshi(far
left)andBâbon(farright).NexttoGrahamisthelead
guitaristfromTetsuo.Photo:RosemaryOverell,2010 122
5.2 AustralianbandPisschristperformatHokage.Photo:
DuncanBox,2009 125
5.3 FliersusingJapanesenationalistimageryandparticularly
incorporatingthehinomaru(sundisc)flag.Theupper
rightshowsaflierforright-wingvenueSengoku
Daitoryo.Photo:RosemaryOverell,2013 145
ix