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This chapter contains a case study analysis on a song by the Spanish heavy metal group Desafío or ‘Challenge’. The lyrics of the song are treated as a poem, and I will thus progress toward a linguistic and poetic analysis (Leech, 2013). Songs include many poetic devices, such as personification, metonymy, paradox, tautology, antithesis, and hyperbole (cf. Hewitt, 2000, p. 189). During the aforementioned linguistic and poetical analysis, it will be seen that the song Muerte en Mostar ‘Death in Mostar’ abounds with poetic features. The song begins with personification, for example: ‘The moon reflects in her face the shadows of evil’. Liturgical lexis and bellicose vocabulary also proliferate. Especially active in the song is the notion of an almost religious crusade. For example, one liturgical aspect found in the chorus is where an unnamed protagonist is described within the context of an almost holy war: ‘To his squadron's flag he promised his loyalty / His heart of love would be called by God’. The song goes on to recount the subsequent events and, therefore, this song in fact seems to be a mini-narrative. Finally, I will show how so much literary allusion reveals, in the end, that the song is not about Spain at all but about events that took place during the war of Bosnia–Herzegovina.

Wicke and Shepherd (1993) stated that socialist rock (and, by extension, metal) is more authentic than its capitalist counterpart because authenticity is tied to commercialism. This is, however, a very Western view of authenticity. Cushman's (1995) interviews suggest that rock musicians were themselves discussing authenticity in the late 1980s and with this comes notions of a socialist authenticity hitherto unexplored, related not to the official and unofficial cultures of Soviet Russia but rather to culture beyond that dichotomy. Other markers of authenticity also become more important: the Russian language is paramount here as the style of metal most prevalent at the time required clear lyrics, and so being able to be identified as a local, Russian, metal musician adds credence to one's status as an authentic, and particularly Russian, metal scene member. This chapter explores the precise circumstances in the early-mid-1980s which brought about metal music in Soviet Russia and how authenticity was determined among scene participants. It highlights the genesis of Russian metal in Russian rock and Western metal music. Then, a replacement is proposed for commercialism, the main marker of authenticity, in the Soviet Russian context, based on Yurchak's (2005) concept of vnye (meaning, approximately, to exist outside of or beyond Soviet society), as well as investigating other, less important markers of authenticity in their uniquely Russian context. One exemplar band, Aria, held both official and unofficial statuses, is used to illustrate the difficulty of making metal music in the Soviet period, as well as how certain aspects of authenticity could vary among rock and metal bands.

The purpose of this paper is to examine the Riot Grrrl activist network in the USA and highlight historical anarchist actions of the Washington, DC chapter by examining the nexus of feminism and anarchism on a continuum of youth activism, and by paying attention to anti-war campaigns, food distribution programs, free clinics and girl culture.

The paper historically contextualizes Riot Grrrl within the Situationist International literature and cultural resistance as well as Donna Harraway’s work on cultural workers. Ethnographic work incorporates participant observation and semi-structured interviews as well as textual analysis of rare Riot Grrrl artifacts. Focus is given to the production of zines as mechanisms for communicating and deconstructing anarcho-grrrl culture.

This paper charts the influence of Riot Grrrl with particular attention to anti-war demonstrations to contemporary activist projects that illustrate tenants of anarchism such as non-hierarchical leadership, direction action, cooperation, mutual aid and volunteerism.

This paper focuses on the Riot Grrrl network in the USA, with a focus on the Washington, DC chapter. Subsequent Riot Grrrl chapters emerged around the world and future research might attend to regional impact these groups made in their communities.

The originality of the paper resides not only in its ethnographic approach to the essence of being a Riot Grrrl, but also includes the author’s own reflections of involvement in this girl-centered activist collective. Further, the author acknowledges Los Angeles performance artist Exene Cervanka, whose anti-war writing and activist work was influential to the Riot Grrrl movement. This essay examines actions to (re)organize, and to disrupt preferred meanings and interpretations of organization and protest so as to mobilize knowledge and to affect authentic social change. This paper commemorates the 25th anniversary of Riot Grrrl and the Mount Pleasant Riots.

This chapter considers the reception of the poetry of Charles Baudelaire through the music of the Soviet metal band Chernyi Obelisk. It argues that Chernyi Obelisk's four Baudelaire settings, performed in Russian, as part of their early live sets in 1986/1987, offer an important part of the poet's reception history, within the Soviet Union. Taking as a starting point, Michael Robbins's claim that ‘metal and poetry are […] arts of accusation and instruction’, the chapter explores ideas of alienation and of the carnivalesque in Baudelaire's works, as presented through the medium of metal music. Focussing particular on settings of ‘Spleen’ and ‘Une Gravure fantastique’, the chapter contends that Chernyi Obelisk's intertextual and interlingual dialogue with Baudelaire can be read as an aesthetic response to social and political uncertainty during the era of glasnost and perestroika.

Since the 19th century, peace movements have consistently called on women to oppose war based on their roles as mothers and citizens. The women's rights and women's peace groups that participated in the anti-war movement of the 2000s continue this pattern drawing on both maternalist and egalitarian frames in their mobilizations. This chapter seeks to understand the forces that shape individual perceptions of the persuasiveness of these frames using face-to-face survey data collected at three 2004 demonstrations. The analyses show that different frames appeal to people with different levels of movement experience. The maternalism frame is negatively correlated with social movement experience and the egalitarian feminist frame is positively correlated. I extrapolate from this finding that that the maternalism frame may serve as a recruitment frame and that the egalitarian frame may serve as a retention frame. The conclusion theorizes that rather than thinking of women's groups that use different framing in oppositional contexts, it may be useful to think of the two sets of social movement organizations as working together in a symbiotic relationship that draws in new participants and maintains existing adherents through the use of distinctly different frames. This paper applies social movement framing theory in two unconventional ways: (1) it focuses on framing reception and the way that frames link individuals with organizations; (2) it encourages social movement scholars to think about the relationship between different frames within a broader movement and proposes an alternate conception of frame competition.