Skip to main content
Article thumbnail
Location of Repository

The 'Failure' of Youth Culture: Reflexivity, Music and Politics in the Black Metal Scene

By Keith Kahn-Harris

Abstract

This article examines an enduring question raised by subcultural studies: how youth culture can be challenging and transgressive, yet '��fail'�� to produce wider social change. This question is addressed through a case study of the black metal music scene. The black metal scene flirts with violent racism, yet has resisted embracing outright fascism. The article argues that this is due to the way in which music is '��reflexively antireflexively'�� constructed as a depoliticizing category. It is argued that an investigation of such forms of reflexivity might explain the enduring '��failure'�� of youth cultures to change more than their immediate surroundings

Publisher: SAGE Publications
Year: 2004
OAI identifier: oai:eprints.gold.ac.uk:2196

Suggested articles

Citations

  1. (1999). Black Metal Unmasked',
  2. (1984). Conditions of Music. doi
  3. (1998). Cool Places: Geographies of Youth Cultures, doi
  4. (2002). Death Metal and the Limits of Musical Expression',
  5. (1987). Discourse and Social Psychology: Beyond Attitudes and Behaviour. doi
  6. (1994). Dissonant Identities: The Rock n Roll Scene in doi
  7. (1998). Everybody Loves Our Town': Scenes, Spatiality, Migrancy',
  8. (1987). Folk Devils and Moral Panics: The Creation of Mods and Rockers. Basil Blackwell: doi
  9. (1996). Gay Skins: Class, Masculinity and Queer Appropriation.
  10. (2000). Heavy Metal: The Music and its Culture. doi
  11. (2000). Inside Subculture: The Postmodern Meaning of Style. doi
  12. (1998). Is This The Most Evil Man In Rock?',
  13. (1977). Learning to Labour. doi
  14. (1998). Lords of Chaos: The Bloody Rise of the Satanic Metal Underground. Feral House: doi
  15. (1994). Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism. doi
  16. (1985). Noise: The Political Economy of Music. doi
  17. (1973). Philosophy Of Modern Music. Sheed
  18. (1999). Pretty in Punk: Girls' Resistance in a Boys' Subculture. doi
  19. (1978). Profane Culture. Routledge and Kegan Paul:
  20. (1987). Reading the Romance. doi
  21. (1994). Reflexivity and its Doubles: Structure, Aesthetics, Community',
  22. (1976). Resistance Through Rituals: Youth Subcultures in Post-War Britain. doi
  23. (2000). Roots'?: The Relationship Between the Global and the Local Within the Global Extreme Metal Scene', doi
  24. (1993). Running With The Devil: Power, Gender and Madness in Heavy Metal Music. doi
  25. (1996). Satan's Cheerleaders',
  26. (2001). Scenes and Sensibilities',
  27. (1979). Subculture: The Meaning of Style. doi
  28. (1999). Subcultures or Neo-Tribes? Rethinking the Relationship Between Youth, Style and Musical Taste', doi
  29. (1991). Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music', doi
  30. (1990). Teenage Wasteland: Suburbia's Dead End Kids. Harper Collins: doi
  31. (1997). Text and Music Revisited', Theory, doi
  32. (1992). Textual Poachers: Television Fans and Participatory Culture. doi
  33. (1998). The Clubcultures Reader:
  34. (1990). The Consequences of Modernity. doi
  35. (1984). The Constitution of Society. doi
  36. (1999). The Devil Comes To Moscow', Terrorizer 64,
  37. (1993). The Field of Cultural Production.
  38. (1995). The Language of Youth Subcultures: Social Identity in Action. Harvester Wheatsheaf:
  39. (1996). The Splintered Art World of Contemporary Christian Music', doi
  40. (1997). The Subcultures Reader, doi
  41. (2001). Transgression and Mundanity: The Global Extreme Metal Music Scene. Doctoral Thesis, Department of Sociology,

To submit an update or takedown request for this paper, please submit an Update/Correction/Removal Request.