dancecult 5/2


Executive Editor's Introduction (1)
Graham St John
"Music is a plane of wisdom"—Transmissions from the Offworlds of Afrofuturism (2-6)
tobias c. van Veen

Feature Articles
Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe (7-41)
tobias c. van Veen
The Metaphysics of Crackle: Afrofuturism and Hauntology (42-55)
Mark Fisher
The Vibe of the Exiles: Aliens, Afropsychedelia and Psyculture (56-87)
Graham St John
Ethnoforgery and Outsider Afrofuturism (88-112)
Trace Reddell
Ethnography From the Inside: Industry-based Research in the Commercial
Sydney EDM Scene (113-130)
Ed Montano
"Stay in Synch!": Performing Cosmopolitanism in an Athens Festival (131-151)
Vassiliki Lalioti

From the Floor
Afrofuturism Unbound: tobias c. van Veen in conversation with Paul D. Miller
tobias c. van Veen
Vocalizing: MC culture in the UK
Nabeel Zuberi
Fabulous: Sylvester James, Black Queer Afrofuturism, and the Black Fantastic
Reynaldo Anderson

Afrofuturism: The World of Black Sci-Fi and Fantasy Culture (152-157)
tobias c. van Veen
MP3: The Meaning of a Format (158-162)
Nabeel Zuberi
Electronica, Dance and Club Music (162-163)
Hillegonda C Rietveld
Electronic Awakening (164-165)
Garth Sheridan
Showtime (166-168)

Philip Ronald Kirby




Metal and Marginalisation: Gender, Race, Class and Other Implications for Hard Rock and Metal cfp

Centre for Women’s Studies and the International Society of Metal Music Scholars present

Metal and Marginalisation: Gender, Race, Class and Other Implications for Hard Rock and Metal

University of York, UK, 11th April 2014

Since the rising dawn of metallectualism, heavy metal scholars have acknowledged metal’s capacity to creatively explore forms of individualism, alterity and otherness. Further, metal frequently casts itself as a marginalised group in mainstream society, with fans and musicians often reveling in their outsider status which is reinforced by references to non-conforming traits (Satanism, for example). As self-proclaimed outsiders, a rhetoric of inclusion is frequently mobilised to establish an oppositional relationship against the ‘nasty’ and exclusionary mainstream. Yet, despite the significance of metal’s discursive construction as an inclusive space outside of the mainstream, the symbolic boundaries of metal are strictly policed. With the assertion of the labels ‘kvlt’ and ‘trve’ defining an authentic embodiment of black metal’s otherness, heavy metal’s borders are performatively marked and reified in its categorising terminology; in behavioural norms; through social relation and the organisation of scenic spaces. This contributes towards the establishment of a dominant framework of a classed/ gendered/sexualised/racialised identity, marking belonging to the ‘imaginary community’ of metal. Furthermore, postulations of metal as an ‘all-encompassing’ community would seem to be belied in the UK by the overwhelming whiteness, maleness and straightness of its participants, both on and off the stage.

This symposium seeks to address the spaces ‘in-between’ (Bhabha, 2004) metal’s boundaries of identification, exploring how metal does or does not accommodate groups that are marginsalised within its own community - the individuals negotiating metal’s edges: women; LGBTQ; ethnic minorities and others who do not fit the metal bill. Exploring the ‘cultural liminality’ (ibid) of metal, we want to examine how metal’s reliance on concepts of otherness often unites it aesthetically and ideologically, yet the alterity of minority discourses within metal appear to challenge its totality and solidity. We want to question how much space metal creates for alternative forms of alterity or otherness, furthermore, how the ideal of individualism plays out in symbolic practices that differentiate and mark the limits of community.

Further provocations may include:
·         What does it mean to exist on the edges of what is already exterior?
·         What does it mean to hold a minority identity in the space of metal?
·         Does the narrative of metal’s inclusivity have a basis in lived experience? Or are such groups tolerated rather than included?
·         How does the language used in metal’s discourses (e.g. genre terms) construct frameworks that include or exclude?
·         Encounters with racism at metal events
·         How does metal contribute to or confront frameworks of racialisation?
·         The use of sexism, racism and/or homophobia as shock tactic
·         How does extremity promote cultures of inclusivity or marginalisation? 
·         Structural hegemonic whiteness, maleness and heterosexuality
·         Can the struggles at the margins be attributed more positively to understanding metal as an agonistic site, with contestation at its core?
·         Discourses of metal vs. the mainstream: a positive identification of marginalisation, the importance of alterity and the passion with which individual’s seek to position metal as alternative to the mainstream.
·         Being ‘trve’, belonging and the exchange of cultural/symbolic capital in metal scenes.
·         Metal as marginal - recent developments in policy: The Sophie Lancaster Foundation and the legal fight to protect alterity.

This one day symposium will have a less formal feel, allowing space for a mixture of presentation formats including conventional papers, shorter discussions of research-in-progress, and alternative, performative or practice presentations (music performances, visual arts, deep listenings, etc). We also hope to produce a journal special issue or edited collection  following the event.

We invite abstracts or proposals (300 words) for papers, workshops, performances and other forms of presentation. Please send to Rosemary Lucy Hill, Caroline Lucas and Gabrielle Riches (rlh504 at york.ac.uk, carolinelucas at hotmail.co.uk, G.Riches at leedsmet.ac.uk) by 16th December 2013.





hip hop & punk feminisms cfp

5 - 6 DECEMBER 2013
Proposals due: Friday, 23 August 2013

This conference will bring together artists, activists and academics to stage new conversations about women of color and women of color feminisms across cultural forms too often perceived to be wholly distinct – hip hop and punk. Both hip hop and punk have received significant scholarly attention since the 1970s, but despite their near-simultaneous emergence in global cities wrought anew through multiple, devastating wars and global economic restructuring, rarely are the two brought into conversation with each the other.  
With this conference, we hope to disrupt status quo narratives and present wholly new analytic and aesthetic investigations about race, sex, and the creation of categories of deviance; race, gender, and sexuality in cultural studies and the politics of aesthetics; queer of color critique and women of color feminist epistemologies; social movements, activism, and art; norms of respectability, morality, and propriety and their politics of value; and, systems and structures of violence and human value. Perceiving a need for a greater nuanced comparative analyses and collaborations across disciplines or fields of inquiry, itself a topic of ongoing scholarship, this conference aims to break ground on what that looks, feels, and sounds like. 
We invite presentations, papers, performances, work-in-progress, new media, workshops, panels, related to (or building on) the following themes/issues:  
Genealogies and as well multiple origin stories for hip hop and/or punk across diasporas and the globe (against a wholly distinct and discrete genealogy, or singular origin story, for each) 
Inter-genre corporeal practices and body aesthetics  
Theories of aesthetics and value that emerge from hip hop and/or punk cultures  
Critical conversations on hip hop and/or punk organizing and disorganization  
New media, web series, blogs, zines, and ciphers  
Critiques and political polemics that imagine futurity or negativity (and the uses and challenges to them from women of color feminisms)  
Disruptive youth cultures and oppositional activism, or their lack (can we necessarily presume disruption or opposition? what conditions are required? through what measures do we recognize these?)  
The ephemeral and haptic qualities of hip hop and punk performances (including the events, actions, and encounters between bodies that shape social and cultural formations within hip hop and punk cultures)  
Art and music inspired by hip hop and punk collaborations  
Experimental hip hop/punk methodologies and pedagogies  
What to send:  
For individual proposals:
Please send a 350-word (maximum) abstract of your conference contribution.
All submissions will be reviewed by the conference co-organizers.  
For collective/panel proposals:
Please send a 300-word (maximum) description of the overall goal, vision, and content for the collective contribution.
In addition, please provide no more than a 250-word abstract of each individual’s contribution.
All submissions will be reviewed by the conference co-organizers.  
All proposals must also include the following information:
Author(s) name, affiliation(s), and brief bio
Email address or preferred contact
Title of presentation
Key words  
Send proposals to HipHopAndPunkFeminisms at gmail.com with the following subject heading:
abstract submission.
All proposals accepted for and presented at the conference will be considered for publication in a collection, tentatively titled, Hip Hop and Punk Feminisms: Genealogy, Theory, Performance

apparently abstracts are still being accepted. see here for more info. 












cfp: Popular Communication Special issue: Piracy and Social Change

Co-editors: Patrick Burkart and Jonas Andersson Schwarz

The editors of Popular Communication: The International Journal of Media and Culture invite submissions for a special issue on the topic of piracy and social change.

Scholarship on piracy and pirates is itself changing, partly in recognition of the fact that "pirate" culture and everyday culture increasingly mix in popular communication. Piracy reflects social changes that transgress legally proscribed orders, while the "piracy" label itself is often used to shore up support for entrenched political and economic interests. For this special issue, we solicit contributions that take a novel and inquisitive approach to piracy and popular communication, while also mapping the current state of the field. Contributors can focus on one or more communicative aspects of piracy, such as pirate cultures, practices, politics, aesthetics, ethics, law and policy, and modernities.

The special issue endeavors to explore the linkages between practices that could be deemed "piratical" or transgressive and their contribution to social change or stasis. Submissions can focus on piracy and cultural production and consumption, politics, business and entrepreneurship, activism and hacktivism, and other topics presented from diverse intellectual, methodological and disciplinary affiliations and orientations.

Popular Communication provides a forum for scholarly investigation, analysis, and dialogue on communication symbols, forms, phenomena and systems within the context of contemporary popular culture across the globe. Popular Communication publishes articles on all aspects of popular communication, examining different media such as television, film, new media, print media, radio, music, and dance; the study of texts, events, artifacts, spectacles, audiences, technologies, and industries; and phenomena and practices, including, but not limited to, fan, youth and subcultures, questions of representation, digitalization, cultural globalization, spectator sports, sexuality, advertising, and consumer culture.

Submitted papers should be 6,000 words in length (inclusive of all elements). Some manuscripts may not be sent out for review if deemed inappropriate for the journal. The deadline for submissions is January 15, 2014. Instructions for submitting your article can be found at http://www.tandfonline.com/toc/hppc20/current.


Karl Spracklen talking about the Metal Music Studies journal on the Intellect imprint.









Black Sun: The Undercurrents of (Un)Popular Music cfp

Black Metal / Neo-Folk / Industrial and Martial Industrial Music

Beneath the veneer of the popular, away from the spotlight of the charts and a putative mainstream, music is still made and audiences continue to engage powerfully and productively with the bands and musicians. Here, though, a different set of musical, political and affective currents are at work; here the music deals with, and circulates around, discourses of violence and aggression, racism and nationalism, fascism, militarism and totalitarianism, paganism and Satanism amongst other unsettled and disturbing topics. Black Sun: The Undercurrents of (Un)Popular Music seeks to gather together contemporary critical writing that explores and reports from music’s periphery, seeking to understand how these genres work, how fans connect with and make meaning as part of their engagement, and how the artists and bands engage with their lived experiences of the world.  
This collection is designed to be a serious critical engagement with these genres in order to provide a greater understanding of the ways in which the musicians, bands and fans utilize and respond to the discourses that make these genres so troubling and which ensure their continued distance from mainstream media and public acceptance. Black Sun will be oriented towards the both the serious fans of these genres and also to scholars of popular culture, and will provide accessible explorations into these genres, in such a way as to encourage further scholarship and critical engagement.  
Chapters that respond to the following areas are particularly encouraged: 
· Histories
o Genres and sub-genres
o Bands of Central Importance
o Panics, Outcries, Scaremongering 
· Politics
o Right Wing, Left Wing, Apolitical
o Racism / Homophobia / Sexism / Anti-Semitism  
· Aesthetics
o Album Cover Art / Website Design / Merchandise
o Band performances
o Musician aesthetics  
· Fan Communities
o Festivals / Distanced fans / Pilgrimages
o Entering or Leaving the Scene
o Gender, Ethnicity, Sexuality  
Please e-mail any queries; abstracts of 300 words with contact information included (MS Word or rich text formats) should be e-mailed to Dr. Scott Wilson by July 1, 2013, for earliest consideration. Unpublished full or partial articles, if available, may also be included with your abstract. The final deadline for full articles will be January 10th, 2014. E-mail swilson2 [at] unitec.ac.nz



from here.











after: after:


‘what do you do, as a Cultural Policy Studies scholar, if you don’t have a sympathetic government keen to implement your policies? Under these conditions – which have obtained throughout the English-speaking world, including Australia, for most of the past 40 years – the pragmatism of the reformers comes to seem even more naïve than that utopianism of the revolutionaries. For what use is a mild-mannered technocrat whose policy suggestions are entirely ignored by government? These writers are not stupid, however. In practice, it seems clear that they do not trouble themselves greatly over this issue because in fact the politics which informs their perspectives is largely hegemonic in the developed world. Although it is never specified, what is clearly implicit in the priorities and attitudes of the Cultural Policy scholars is that their politics is more-or-less that of the Third Way. That is to say; promoting a liberal cultural and social politics, and a range of state interventions which seek to mitigate the worst social effects of neoliberalism, without challenging its fundamental premises, is in fact the implicit goal of their proposals. As such, it is these so-called Cultural Policy Reformers far more than the reviled cultural populists of the 1980s who actively promote a version of cultural studies which would put it fully at the service of current ruling elites and their political projects’ (Gilbert 2008: 68).


Punk in the 21st-Century: Call for Papers

Alastair Gordon and Mike Dines are seeking contributions from the inter-disciplinary areas of cultural studies, musicology and social sciences, for an edited text on the global punk/DiY ‘scenes’ of the 2000s onwards; reflecting upon the notion of origins, music(s), identity, legacy, membership and circulation. Aiming to continue the work of George McKay – and, most notably his DiY Culture: Party and Protest in Nineties Britain (1998) – this volume will attempt to traverse the global as a means of mapping the existence of punk/DiY post-2000. As such, this volume will adopt an essentially analytical perspective so as to raise questions initially over the dissemination of the scene and subsequently over its form, structure and cultural significance beyond the 1990s. 
As such, this volume will encompass the global dissemination of a subculture/scene, with guaranteed chapters surrounding Japanese punk, Indonesian anarcho-punk and Mexican punk ethnography. 
However, this is not to say that proposals surrounding the British/American scene of the post-2000s would not be welcome. Within a truly global edition, we feel that the geographic should be one that represents a ‘level-playing field’ – and we do not wish to inadvertently discriminate between countries/cultures. 
Suggestions for chapters are invited exploring any of the following themes (this list is by no means exhaustive): 
• Origins and legacy 
• Use of new media, communications, social networking, internet 
• Ethnographic considerations of scene/space 
• Political Appropriation: re-defining of ‘anarchism’, ‘ecology’ anti-authoritarian within the punk scene 
• Notion of local/national/international ‘scene’, tribes, counterculture/subculture 
• Music and the Performer: creativity, authorship, identity, problems with definition, crossing musical boundaries, use of new media/social networking. 
• Reception: DiY culture, activism, ‘pay-no-more’ attitude at gigs, and for vinyl and tapes. 
• Lifestyle: Festival/squatting/traveller culture, vegetarianism, animal rights, ‘hunt sabbing’, straightedge, etc. 
• Gender, sexuality, class, ethnicity and identity 
• The art of the punk/DiY: use of record covers and associated merchandise to convey political/social ideals, stencils, graffiti 
Other, more general, possible categories: 
• The musical genres 
• Associated subcultures 
• Legacies 
• Intellectual debates 
• The media: reports, reception, gossip 
Proposals should be 500 words maximum and should include keywords and a brief biog of the author. Submitting a proposal implies that it only contains original, non-published material and that it is not simultaneously being submitted to another publication. The deadline for submissions is 1st Oct. A decision on inclusions will be made by 1st December 2013 and chapters will need to be finalized by June 1st 2014 to allow time for final editing. 
Proposals should be submitted electronically to: miked71uk at yahoo.co.uk We look forward to hearing from you! 
Dr. Alastair Gordon Dr. Mike Dines 
For further information, please refer to the link below: 


before: after:


helvete: a journal of black metal theory, issue 1.





IASPM-ANZ 2013 Conference: Call for Papers

Popular Music Communities, Places and Ecologies
Queensland Conservatorium, Griffith University
24-26 November 2013

Organising Committee:         Dan Bendrups, Jodie Taylor, Donna Weston

Program Committee:            Sarah Baker, Kate Barney, Andy Bennett, Gavin Carfoot, Jadey O’Regan, Narelle McCoy

We are pleased to announce this call for papers for the 2013 IAPSM-ANZ conference, which will be held at the Queensland Conservatorium, Griffith University, in conjunction with the International Music Council’s 5th World Forum for Music (21-24 November). The theme of the IMC World Forum is ‘Sustaining Music, Engaging Communities’ with a strong emphasis on the interplay between music, musicians and their various environments of activity (natural, built, social and cultural, etc). Drawing on this, the theme of the 2013 IASPM-ANZ conference, Popular Music Communities, Places and Ecologies seeks to foster scholarly engagement with the various ways in which music, people and place are connected. While notions of of ‘community’ and ‘place’ are well-established constructs in popular music studies, we introduce here the notion of ‘ecology’ as a further consideration in the relationship between popular music and place. This term may be understood literally, in reference to the natural or physical environment, or figuratively, as a metaphor for the numerous other possible environments of popular music production and consumption.

Abstracts for paper presentations on any aspect of this theme are invited from all researchers with an interest in popular music, regardless of disciplinary orientation. All papers detailing new and established research in the field will be considered, though preference may be given to papers that demonstrate clear engagement with the theme. Papers with a theoretical orientation are particularly encouraged, as are submissions from postgraduate students. Panel submissions of up the three papers are also welcome. Please submit your proposal as a Word doc, in plain text, with the following information (in this order):

  • Name of author(s) (exactly as you would like it to appear in the program)
  •  Institution or affiliation
  •  Contact phone number, including international codes
  • Email
  • Consideration for 2012 IASPM-ANZ postgraduate prize?* (Yes/No)
  • Title of paper
  • 3 keywords for your paper (for programming purposes)
  • Abstract (300 words maximum)
*The IAPSM-ANZ postgraduate prize of AUD$250 is awarded to the best postgraduate presenter at the conference, as determined by a panel of established IAPSM-ANZ members. Only current postgraduate students are eligible. Past winners may not apply.
 Information on registration, accommodation and additional activities will be posted on the IASPM-ANZ website following the abstract review process. All presenters are required to be financial members of IASPM. Membership information can be found at the IASPM-ANZ webpage: www.iaspm.org.au, and will also be provided at the time of conference registration.

Deadline for submissions: 12 April 2013

Email for submissions and enquiries: iaspmanz2013@griffith.edu.au


the amazing line-up for the heavy metal and popular culture conference at bowling green:

All events are in the Bowen-Thompson Student Union on the campus of Bowling Green State University unless otherwise noted.   THURSDAY, APRIL 4 
Registration 8:00AM-5:00PM 
Conference Opening and Welcome: Jeremy Wallach (Bowling Green State Univ, USA) 9:30-10:00AM in UN 206 
KEYNOTE: Robert Walser (Case Western Reserve University, USA)10:00-11:30AM in UN 206 
Lunch Break 12:00-1:00PM  
Session 1: Rethinking Heavy Metal, 1:00-2:30PM UN 206 
Hecker, Pierre (Univ of Marburg, Germany)   Metal as Cultural Practice
Norberg, Lars (The Univ of Agder, Norway) Progressivity: Reconsidering Heavy Metal
Scott, Niall (Univ of Central Lancashire,UK) Heavy Metal as Resistance
Mynett, Mark (Univ of Huddersfield, UK )  Humanizing the Machine: Technological Mediation and the Notions of Authenticity, Integrity and Liveness in Contemporary Metal Music  
Session 2: Crossing Over: Metal Transgressing Genre and Cultural Boundaries, 3:00-4:30PM UN 206
Deeks, Mark (Univ of Leeds, UK)   Landscape and Mythology as Heavy Metal Fashion
Walter, Barbara (St Louis College of Pharmacy, USA)   Beyond Black: Satanism, Medievalism, and the Dark Illumination of the Self in the Aesthetics of Norwegian and Transnational Black Metal
Welker, Lauren (Independent Scholar, USA)   Local Roots, International Audiences: Transcultural Appeal and Strategies in European Folk/-Pagan Metal
Tsitos, William (Towson Univ, USA)  Reactions to Crossover/Thrash Metal in Punk and Metal Scenes

Session 3 Metal Sounds 5:00-6:30PM, UN 206
Coggins, Owen (The Open Univ, UK)  Drone Metal Recordings as Mystical Texts
Lambright, Spencer Neil (Middle Tennessee St Univ), USA   Electronic Distortion and Tonal Stability in Heavy Metal
Smialek, Eric (McGill Univ, Canada)   Becoming the Beast: Musical Expression in the Extreme Metal Voice
Ebert, Kevin (Xavier Univ, USA)   Bridging the Divide? Classical Music and Popular Culture in Symphonic Metal  
Dinner 6:30-8:00PM 
The Heavy Metal T-Shirt Project & Motörhead Matters
 8:00-10:00PM in UN 206
 Session 4: Race With the Devil: The Racial Politics of Heavy Metal, or Who Gets to Play (with) Heavy Metal Anyway? 8:00-9:30AM UN 228 
 CHAIR: Fellezs, Kevin (Columbia Univ, USA)   Edge of Insanity: Tony MacAlpine and Virtuosity as Transcendence
Matabane, Mashadi (Emory Univ, USA)   Sister Outsiders? A Critical Meditation on Two Black Women’s Musicianship in U.S. Heavy Metal
Brown, Andy (Bath Spa Univ, UK)   A League of Extraordinary Djentlemen?: Geekdom, Virtuosity and the Relative ‘Un-marking’ of Race in On-line Progressive-Metal Fandom Threads
Session 5: Women and Gender in Heavy Metal, 10:00-11:30AM UN 228
Hill, Rosemary Lucy (Univ of York, UK)   Are Women Metal Fans Groupies? The Impact of Dominant Representations of Women Rock and Metal Fans Upon Female Fans
Kitteringham, Sarah (Univ of Calgary, Canada)   Extreme Conditions Demand Extreme Responses: The Rise of Women in Black Metal, Death Metal, Doom Metal and Grindcore
Patterson, Jamie (Univ of North Carolina at Chapel Hill, USA)   Blasting Britney on the Way to Goatwhore: Listening Practices and Authenticity Among Female-Identified Fans of Death Metal in Piedmont North Carolina
Smit, Christopher (Calvin College, USA)   Metal Gaga: Appropriation, Post-Consumption and the Metal Aesthetic
Lunch 11:30AM-1:00PM
Session 6: Local Scenes and Sounds, Historically and Today 1:00-2:30PM UN 228
Riches, Gabby (Univ of Leeds, UK)   Headbanging in the Margins: A Case Study of 3 Underground Metal Venues in Leeds, UK
Thibodeau, Anthony (Bowling Green State Univ, USA)   Genre, Scene and Ritual in Cascadian Black Metal
Spracklen, Karl (Leeds Metropolitan Univ, UK)   Keeping Time, Paying Bills: Serious Leisure, Imaginary Communities, Social Media and the Northern English Black Metal Scene 
Guibert, Gérôme (Univ of Paris, Sorbonne-Nouvelle, France)   “Marche ou crève”: Trust and the Singular Birth of French Heavy Metal in the Late ‘70s 
ROUNDTABLE:  What Are the Origins and Meaning of Heavy Metal? 3:00-4:30PM IN UN 206 
Moderated by Brian Hickam (Benedictine Univ, USA) 
PANELISTS: Deena Weinstein (DePaul Univ, USA), Steve Waksman (Smith Coll, USA), Karl Spracklen (Leeds Metropolitan Univ, UK), Rob Kimple (Owner of RamaLama Records, Toledo scene veteran, and concert promoter, USA), Martin Popoff (journalist, author of 41 metal books, former editor-in-chief and co-founder of Brave Words & Bloody Knuckles magazine, Canada)  
EXHIBIT: “Beyond the Black: Masks and Facepaint through Genres, History & Cultures” 9:00AM-5:00PM in UN 200D
Session 7: Global Dimensions Saturday, April 6 9:00-10:30AM 
Snell, Dave (Waikato Institute of Technology, New Zealand)   Bogan’s Heroes: Thrash Metal in the Public Eye 
Trummer, Manuel (Univ of Regensberg, Germany)   “Musicians Should Never Turn into Servants of Politics”: Metal, Politics and Pop Culture in post-Soviet South Caucasus 
Verne, Markus (Univ of Bayreuth, Germany)   Fragile Hearts: Mainstreaming Metal in Madagascar

Zheng Yu (Bowling Green State Univ, USA)   The Scene of Chinese Heavy Metal after the Golden Age: From Painkiller to the Globe  
KEYNOTE: “RACE, GENDER AND AUTHENTICITY IN EXTREME MUSIC” BY LAINA DAWES (Journalist, Photographer,  Writer, Canada)  11:00AM-12:30PM IN UN 206                                              
Lunch 12:30-1:30PM 
ROUNDTABLE: HEAVY METAL and COMMUNITY 1:30-3:00PM IN UN 206                                          
Moderated by Amber R. Clifford-Napoleone (Univ of Central Missouri, USA) 
PANELISTS: Niall Scott (Univ of Central Lancashire, UK), Sarah Kitteringham (Univ of Calgary, Canada), Bryan Bardine (Univ of Dayton, USA), Esther Clinton (Bowling Green State Univ, USA), Todd Evans (Gwar, Mobile Death Camp) additional panelist(s) TBA         
Session 8: Finnish Take on Metal Management and Consumption 
Saturday, April 6 3:30-5:00PM  
CHAIR: Karjalainen, Toni-Matti (Aalto Univ School of Business, Finland)   In Somnium Exportata: A Finnish Story of International Metal Labor 
Perttula, Eeva (Aalto Univ School of Business, Finland)   Leadership by Perkele? Managing a Creative Metal Music Venture
Salo, Anna (Aalto Univ School of Business, Finland)  The Anatomy of a Metal Festival: Tuska in Hellsinki 
Session 9: Heavy Metal and Culture in the Caribbean Island of Puerto Rico: National Identities, Religion and Gender  
Saturday, April 6, 5:30-7:00 PM 
CHAIR: Varas-Dias, Nelson (Univ of Puerto Rico and Ponce School of Medicine and Health Sciences)   On your knees and pray! The Role of Religion in the Development of a Metal Scene in the Caribbean Island of Puerto Rico 
Mendoza, Sigrid (Univ of Puerto Rico and Ponce School of Medicine and Health Sciences)   There’s a Girl in the Mosh Pit! Female Gender Practices in Puerto Rico’s Heavy Metal Scene 
Rivera-Segarra, Eliut & Osvaldo González (Univ of Puerto Rico and Ponce School of Medicine and Health Sciences)   “Con la mancha de plátano”: The Role of National Identities in Puerto Rico’s Metal Scene.  
EXHIBIT: “Beyond the Black: Masks and Facepaint through Genres, History & Cultures” 11:00AM-5:00PM in UN 200D

 Session 10 Nostalgia and Kitsch: Metal Gets Sentimental
 Sunday, April 7 11:00am-12:30PM 
Klypchak, Brad (Texas A & M Commerce, USA)   “…Another Thing Coming”: Nostalgia and Kitsch in Mass Cultural Manifestations of “Metal”
Sollee, Kristen (Independent Scholar, USA)   “Where is Def Leppard?  Where is Mötley Crüe?  Why Do All My Lyrics Sound Like Dr. Seuss?”  Steel Panther and the Parodic Revival of Glam Metal 
McCombe, John (Univ of Dayton, USA)   The Emergence of Realist Metal Video on MTV, 1983-1985, or Metal in the Pre-Tawny Kitaen Era on MTV
Bayer, Gerd (Univ of Erlangen, Germany)   Sentimental Comedy and the Heavy Metal Documentary
ROUNDTABLE: THE TOLEDO HEAVY METAL SCENE moderated by Matt Donahue (BGSU) Panelists: TBA 
Session 11 Comics, Sci-Fi and Superheroes: Metal Meets Fiction Sunday, April 7 2:30-4:00PM      
Heesch, Florian (Univ of Music, Drama and Media, Germany)  Nordic Metal Avenger: Jon Mikl Thor’s Performances of Superhero Characters 
McKinnon, Colin (Independent Scholar, Switzerland)  Metal and Comics: Strange Bedfellows? 
Roby, David (Texas A & M, USA)   Metalocalypse as Meta-Discourse
Wiebe, Laura (McMaster Univ, Canada)   ‘Musicians from Mars’: Negotiating Music, Genre and Identity in Voivod’s Science Fictional Metal

 Closing Remarks by Esther Clinton (Bowling Green State Univ, USA) 4:30-4:45PM in UN 206

Tuesday, April 2, other music film series presents Global Metal and Heavy Metal in Baghdad, Grounds for Thought coffee shop, Main St, BG 7 PM.
Wednesday, April 3, Welcome reception for conference delegates.  Time and location TBA.
Friday, April 5, Book signing with Laina Dawes, author of What Are You Doing Here?  A Black Woman’s Life and Liberation in Heavy Metal 8 PM.  
Friday, April 5, 9 PM Concert: MAD 45 (local Toledo/BG band).  
Saturday, April 6, Live music, TBA. 
More here.






from when brostep was a word.







merry new year.
the new fast capitalism is on occupy.