By Mark Levine
“We play heavy steel simply because our lives are heavy metal.”
—Reda Zine, one of many founders of the Moroccan heavy-metal scene
“Music is the weapon of the future.”
An eighteen-year-old Moroccan who loves Black Sabbath. A twenty-two-year-old rapper from the Gaza Strip. a tender Lebanese singer who prices Bob Marley’s “Redemption Song.” they're as consultant of the realm of Islam this day because the conservatives and extremists we see each evening at the information. Heavy steel, punk, hip-hop, and reggae are every one the track of protest, and in lots of situations thought of immoral within the Muslim global. This tune can also develop into the soundtrack of a revolution unfolding throughout that global.
Why, regardless of governmental makes an attempt to manage and censor them, do those musicians and lovers preserve enjoying and listening? partially, after all, for the enjoyment of self-expression, but in addition simply because, during this sector, every little thing is political. In Heavy steel Islam, Mark LeVine explores the impact of Western track at the heart East via interviews with musicians and fanatics, introducing us younger Muslims suffering to reconcile their faith with a keenness for song and a wish for swap. the result's a revealing travel of latest Islamic tradition throughout the evolving song scene within the heart East and northerly Africa. Heavy steel Islam is a shocking, wildly enjoyable foray right into a traditionally authoritarian quarter the place tune simply could be the real democratizing strength.
Read or Download Heavy Metal Islam: Rock, Resistance, and the Struggle for the Soul of Islam PDF
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Extra resources for Heavy Metal Islam: Rock, Resistance, and the Struggle for the Soul of Islam
He had an enthusiasm for Ives. What had put me off Ives was all the Americana business. I didn’t like that. You see, in modern painting I was devoted to Mondrian; just as I had chosen Schoenberg in music, so I chose Mondrian in painting. And it was not through my own inclinations but through the excitement and work of Robert Rauschenberg that I came to be involved in representational work. If, then, I could accept representation in painting I could, of course, accept the Americana aspect of Ives.
That was very important to me, to hear through him music from all the various cultures; and they sounded different. Sound became important to me—and noise is so rich in terms of sound. Surprisingly, you can even read statements in the early fifties from young composers in Europe, who are otherwise revolutionary and adventurous, to the effect that sound has no importance in music. Do you realize that? They tended to think that the thoughts, the constructions, the ideas that form the relationships of sounds were important, but that the sounds themselves were of no importance.
You mean interested in the construction of it? And all of the ideas and everything. Otherwise, I don’t think it’s that -48seductive. Certainly some pieces are not at all. Whereas Satie is. The fact that he’s interesting even though he is charming makes him for me still very lively. I think he’s one of the liveliest musical figures, certainly of this century. Long ago I wrote that text comparing him with Webern. Maybe if I paid more attention to Webern now I would like him again, but I don’t feel any need for it.