From pride to prejudice to shame: Multiple facets of the black metal scene within and without online environments

Educational, Psychological, and Behavioral Considerations in Niche Online Communities

Volumn , Issue , 2014, Pages 364-388

  Venkatesh, Vivek ^a   Podoshen, Jeffrey S ^b   Perri, David ^c   Urbaniak, Kathryn ^a  

^a Gina Cody School of Engineering and Computer Science   (Canada)

^b MARSHALL UNIVERSITY   (United States)

^c Brave Words and Bloody Knuckles Magazine ^*  (Canada)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84922602146     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4018/978-1-4666-5206-4.ch021     Document Type: Chapter

References (48)

1. Altheide, D. L. (1996). Qualitative media analysis. Thousand Oaks, CA: Sage.
2. Anderson, C. A., Carnegie, N. L., & Eubanks, J. (2003). Exposure to violent media: The effects of songs with violent lyrics on aggressive thoughts and feelings. Journal of Personality and Social Psychology, 84(5), 960-971. doi:10.1037/0022-3514.84.5.960 PMID:12757141
3. Arnett, J. J. (1995). Metalheads: Heavy metal music and adolescent alienation. Boulder, CO: Westview Press.
4. Bååth, J. (Director). (2012). Opus Diaboli [Documentary]. Sweden: His Master's Noise.
5. Bargh, J. A., & McKenna, K. Y. A. (2004). The internet and social life. Annual Review of Psychology, 55, 573-590. doi:10.1146/annurev.psych.55.090902.141922 PMID:14744227
6. Belk, R. W. (2011). Examining markets, marketing, consumers, and society through documentary films. Journal of Macromarketing, 31(4), 403-409. doi:10.1177/0276146711414427
7. Bennett, A. (1999). Subcultures or neo-tribes? Rethinking the relationship between youth, style and musical taste. Sociology, 33(3), 599-617.
8. Bennett, A. (2004). Consolidating the music scenes perspective. Poetics, 32, 223-234. doi:10.1016/j.poetic.2004.05.004
9. Bonazelli, A. (2013). Encyclopedia black: Inside metal-archives.com. Decibel Magazine, 104, 52-55.
10. Bryman, A. (2008). Social research methods. Oxford, UK: Oxford University Press.
11. Charmaz, K. (2008). Grounded theory as an emergent method. In S. N. Hesse-Biber, & P. Leavy (Eds.), The handbook of emergent methods (pp. 155-170). New York, NY: Guilford.
12. Dare, T. (2013). Eye of the beholder. Terrorizer Magazine, 239, 19-22.
13. Dunn, S., McFadyen, S., & Feldman, S. (Directors). (2008). Global metal [Documentary]. Canada: Banger Films.
14. Dunn, S., McFadyen, S., & Wise, S. (Directors). (2005). Metal: A headbanger's journey [Documentary]. Canada: Banger Films.
15. Franklin, R. A. (2010). The hate directory. Retrieved from http://www.hatedirectory.com/hatedir.pdf
16. Gerstenfeld, P. B., Grant, D. R., & Chiang, C. P. (2003). Hate online: A content analysis of extremist Internet sites. Analyses of Social Issues and Public Policy (ASAP), 3(1), 29-44. doi:10.1111/j.1530-2415.2003.00013.x
17. Glaser, J., Dixit, J., & Green, D. P. (2002). Studying hate crime with the internet: What makes racists advocate racial violence? The Journal of Social Issues, 58(1), 177-193. doi:10.1111/1540-4560.00255
18. Hagen, R. (2011). Musical style, ideology, and mythology in Norwegian black metal. In J. Wallach, H. M. Berger, & P. D. Greene (Eds.), Metal rules the globe (pp. 180-199). Durham, NC: Duke University Press. doi:10.1215/9780822392835-008
19. Hesmondhalgh, D. (2005). Subcultures, scenes or tribes? None of the above. Journal of Youth Studies, 8(1), 21-40. doi:10.1080/13676260500063652
20. Hesmondhalgh, D. (2008). Towards a critical understanding of music, emotion and self-identity. Consumption. Markets and Culture, 11(4), 329-343. doi:10.1080/10253860802391334
21. Kahn-Harris, K. (2004). The failure of youth culture: Reflexivity, music and politics in the black metal scene. European Journal of Cultural Studies, 7(1), 95-111. doi:10.1177/1367549404039862
22. Kahn-Harris, K. (2007). Extreme metal: Music and culture on the edge. New York, NY: Berg.
23. Kozinets, R. V. (2002). Can consumers escape the market? Emancipatory illuminations from burning man. The Journal of Consumer Research, 29(1), 20-38. doi:10.1086/339919
24. Kozinets, R. V. (2009). Netnography: Doing ethnographic research online. Thousand Oaks, CA: Sage.
25. Kruse, H. (1993). Subcultural identity in alternative music culture. Popular Music, 12(1), 31-43. doi:10.1017/S026114300000533X
26. Maulana, A., & Eckhardt, G. (2007). Just friends, good acquaintances or soul mates? An exploration of website connectedness. Qualitative Market Research, 10(3), 227-242. doi:10.1108/13522750710754281
27. Mead, G. H. (1938). The philosophy of the act (Vol. 3). Chicago, IL: University of Chicago Press.
28. Melican, D. B., & Dixon, T. L. (2008). News on the net: Credibility, selective exposure, and racial prejudice. Communication Research, 35(2), 151-168. doi:10.1177/0093650207313157
29. Moynihan, M., & Søderlind, D. (1998). Lords of chaos: The bloody rise of the satanic metal underground. Los Angeles, CA: Feral House.
30. Peterson, R. A., & Bennett, A. (2004). Introducing music scenes. In A. Bennett, & R. A. Peterson (Eds.), Music scenes: Local, trans-local and virtual (pp. 1-16). Nashville, TN: University of Vanderbilt Press.
31. Picca, L. H., & Feagin, J. R. (2007). Two-faced racism: Whites in the backstage and frontstage. New York: Routledge/Taylor & Francis Group.
32. Podoshen, J., Venkatesh, V., & Zheng, J. (2013). Theoretical reflections on dystopian consumer culture: Black metal. Manuscript under review at Marketing Theory.
33. Podoshen, J. S. (2013). Dark tourism motivations: Simulation, emotional contagion and topographic comparison. Tourism Management, 35, 263-271. doi:10.1016/j.tourman.2012.08.002
34. Shank, B. (1994). Dissonant identities: The rock 'n' roll scene in Austin, Texas. Hanover, NH: University Press of New England.
35. Smialek, E. (2009). Rethinking metal aesthetics: Complexity, authenticity, and audience in Meshuggah's I and Catch Thirtythr33. (Unpublished Master's Thesis). McGill University.
36. Snell, D., & Hodgetts, D. (2007). Heavy metal, identity and the social negotiation of a community of practice. Journal of Community & Applied Social Psychology, 17(6), 430-445. doi:10.1002/casp.943
37. Spiggle, S. (1994). Analysis and interpretation of qualitative data in consumer research. The Journal of Consumer Research, 21(3), 491-503. doi:10.1086/209413
38. Stahl, G. (2004). It's like Canada reduced: Setting the scene in Montreal. In A. Bennett, & K. Kahn Harris (Eds.), After subculture: Critical studies in contemporary youth culture (pp. 51-64). Basingstoke, UK: Palgrave Macmillan.
39. Straw, W. (1991). Systems of articulation, logics of change: Communities and scenes in popular music. Cultural Studies, 5(3), 368-388. doi:10.1080/09502389100490311
40. Straw, W. (2002). Scenes and sensibilities. Public, 22/23, 245-257.
41. Straw, W. (2004). Cultural scenes. Loisir et Societe, 27(2), 411-422.
42. Venkatesh, V., Podoshen, J., Wallin, J. J., & Urbaniak, K. (2013). Eschewing community: Black metal. Manuscript under review at Journal of Community and Applied Social Psychology.
43. Venkatesh, V., Shaikh, K., Thomas, T., Urbaniak, K., Gallant, T., Waddington, D., & Zuberi, A. (2012). Technological transparency in the age of web 2.0: A case study of interactions in Internetbased forums. In E. Pontes, A. Silva, A. Guelfi, & S. Takeo Kofuji (Eds.), Methodologies, tools and new developments for e-learning (pp. 93-106). Vienna, Austria: InTech.
44. Vice Magazine. (2012). One man metal. Retrieved from http://www.vice.com/noisey-vbs/one-manmetal-part-1
45. Wallach, J. M., Berger, H. M., & Greene, P. D. (2011). Affective overdrive, scene dynamics, and identity in the global metal scene. In J. M. Wallach, H. M. Berger, & P. D. Greene (Eds.), Metal rules the globe (pp. 3-33). Durham, NC: Duke University Press. doi:10.1215/9780822392835-001
46. Wallin, J. J. (2012). On the plains of Gorgoroth: Black metal, youth culture, and the psychoanalytic question of evil. Cultural Formations, 1.
47. Walser, R. (1993). Running with the devil: Power, gender and madness in heavy metal music. Hanover, NH: Wesleyan University Press.
48. Weinstein, D. (2000). Heavy metal: The music and its culture. New York, NY: Da Capo Press.