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“We play heavy metal because our lives are heavy metal.”
—Reda Zine, one of the founders of the Moroccan heavy-metal scene
“Music is the weapon of the future.”
—Fela Kuti
An eighteen-year-old Moroccan who loves Black Sabbath. A twenty-two-year-old rapper from the Gaza Strip. A young Lebanese singer who quotes Bob Marley’s “Redemption Song.” They are as representative of the world of Islam today as the conservatives and extremists we see every night on the news. Heavy metal, punk, hip-hop, and reggae are each the music of protest, and in many cases considered immoral in the Muslim world. This music may also turn out to be the soundtrack of a revolution unfolding across that world.
Why, despite governmental attempts to control and censor them, do these musicians and fans keep playing and listening? Partly, of course, for the joy of self-expression, but also because, in this region, everything is political. In Heavy Metal Islam, Mark LeVine explores the influence of Western music on the Middle East through interviews with musicians and fans, introducing us young Muslims struggling to reconcile their religion with a passion for music and a desire for change. The result is a revealing tour of contemporary Islamic culture through the evolving music scene in the Middle East and Northern Africa. Heavy Metal Islam is a surprising, wildly entertaining foray into a historically authoritarian region where music just might be the true democratizing force.
- Sales Rank: #691439 in Books
- Published on: 2008-07-08
- Released on: 2008-07-08
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .70" w x 5.30" l, .70 pounds
- Binding: Paperback
- 312 pages
From Publishers Weekly
Starred Review. With a jolting arrangement of images and voices, LeVine powerfully upends received notions about the Middle East by exploring one of the area's least-known subcultures. Interviewing and jamming with musicians from Morocco to Pakistan—including rappers and trip-hop artists as well as metalheads—LeVine (Why They Don't Hate Us) presents Muslims, Christians and Jews who, in the face of corruption, repression and violence, use their music to speak truth to power and carve out a space for individual expression and a new form of community. The degree of independence the musicians enjoy varies widely—from Israeli band Orphaned Land who are free of restrictions (and widely admired in the Arab metal world) to Egyptian metalheads who fear arrest and possible torture for sporting long hair. Each artist in this book struggles, on some level, for cultural and political reform, and LeVine argues that if these musicians could find a way to cooperate with progressive religious activists and the working class, they could trigger a revolution. This is a tall order, but the author's warm and intelligent examination of a reality few in the West have experienced suggests it may yet be possible. (July 15)
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From School Library Journal
Adult/High School—In the 1970s, heavy metal acts like Black Sabbath and Iron Maiden created dark, violent music that was as much political and social protest as it was adrenaline-laced sound energizing the mosh pit. LeVine looks at the current heavy metal, punk, and hip-hop scenes of the Middle East in this way, presenting the backgrounds of each and exploring the social import of their messages. With lyrics crying for political and social change, this music carries the screams of angry youth, but angry youth who, for the most part, still regard themselves as devout Muslims. Each chapter examines a different nation and its music scene. Although it's not surprising that the most active centers are the more Westernized nations like Morocco and Israel, the most fascinating sections are those that cover places like Iran, where the music is not just looked at with suspicion, but often considered illegal. Many of the musicians are in their late teens and early 20s. Unfortunately, LeVine does a poor job of describing the music itself, throwing out terms like "grindcore" and "black metal" without defining them. Readers already knowledgeable about different forms of heavy metal won't have a problem with this, but those coming from the outside might find all the undefined labels a little confusing. LeVine does, however, provide a useful list of Web sites that provide samples of the music; a companion audio CD is sold separately. It becomes obvious that the author sees these musicians as a force for positive change. Although a journalistic approach might make this work more convincing, it's still a fascinating read about a unique subculture.—Matthew L. Moffett, Pohick Regional Library, Burke, VA
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Review
“Offers the hit-and-run pleasures of a lively road trip…. Levine manages to unpack enough cross-cultural incongruities to mount his own mosh pit follow-up to ‘You Don’t Mess With the Zohan….informative, valuable, and moderately mad.”
—The New York Times Book Review
“A fascinating social phenomenon….[LeVine’s] material is rich, as he mingles scenes of conflict with surprising moments of understanding.”
—Los Angeles Times
“There's something irresistible about the idea that LeVine… not only interviewed rock and rap artists from all over the Middle East and North Africa but also put down the notepad and got up onstage to jam with them."
—Slate.com
“A deeply felt, informed volume that’s both hopeful and emotionally honest…LeVine does a remarkable job, sketching not only the surprising realities of the musicians, but also providing excellent historical background and terrific detail….anyone–regardless of musical preference–who wants an eye-level glimpse into the Middle East should pick up Heavy Metal Islam."
—Paste magazine
“With a jolting arrangement of images and voices, LeVine powerfully upends received notions about the Middle East by exploring one of the area's least-known subcultures…. LeVine argues that if these musicians could find a way to cooperate with progressive religious activists and the working class, they could trigger a revolution. This is a tall order, but the author's warm and intelligent examination of a reality few in the West have experienced suggests it may yet be possible.”
—Publishers Weekly (starred review)
“Alternately inspiring and disheartening—a solid work of cross-cultural analysis.”
—Kirkus Reviews
“Using music as a prism to observe social relations, he expertly describes the political upheaval and social confusion in the Middle East that Westerners ignore or seldom understand. This examination of the changing and evolving cultures in a key global region is highly recommended.”
—Library Journal
“Heavy Metal Islam is a fun read, and an important one. As an American, Islam has been portrayed as the boogie man. I don't know much about the culture or musical influences. As a musician I can relate to the struggles [of] trying to write and record songs and the difficulty of finding hard rock records where they don't exist. So this was a pleasant surprise that these young artists and fans from such a different culture can enjoy the same soundtrack of my youth. I guess Lemmy is God in all languages.”
—Gilby Clarke, former guitarist for Guns N’ Roses and star of the hit TV reality show, Rock Star Supernova
Most helpful customer reviews
26 of 32 people found the following review helpful.
Better off watching "Heavy Metal in Baghdad"...
By Dario M. Zagar
While the concept of the book, namely the rarely discussed role of musical counterculture in the middle East, certainly has potential, its execution is a disaster. Mark LeVine's writing has all of the excitement of an academic dissertation, with none of the depth or research behind it. He clearly knows little or nothing about heavy metal, and also clearly did little or no immersion into the music to learn about it. (The editor also did no fact checking--can't "high brow" books about a "low brow" topic at least have someone acquainted with the topic read it at some point prior to publication?)
Just about every mention about the actual music or bands involved is riddled with errors that a simple Google search would have corrected. Just a few: mentioning a Rage Against the Machine song as being called "F*** you, I won't do what you tell me", describing a poster of the "band" "Cowboys From Hell," and worst of all, discussing Iron Maiden's famous mascot, "Freddy". Come on, people--that is just sloppy!
Despite all of that, the biggest problem remains that LeVine is such an undistinguished writer that "Heavy Metal Islam" is a stultifyingly boring read. I couldn't help but imagine what the book would have been like by a compelling author (such as David Hadju, whose recent "Ten Cent Plague" makes the world of 1950's anti-comic book hysteria pop with life) who could have drawn out the passion and frustration in these people's stories. While it suffers from some of the same repetition as this book, the documentary "Heavy Metal in Baghdad" is a much more evocative depiction of the role of heavy metal in the lives of a group of young Iraqis struggling to fulfill their musical ambitions, while trying simply to survive.
19 of 20 people found the following review helpful.
Can heavy metal change the world?
By rudiger
Frankly I am baffled by the reviewers who described this book as dry, academic, and/or boring. To them I say, You haven't read much academic writing lately. Readers would be hard-pressed to find publications of any university press which match this title for sheer readability. LeVine does not inject much social theory into this book, nor does he write for a primarily academic audience.
To be sure, "HEAVY METAL ISLAM" is an imperfect text with its share of errors. (My personal favorite: the author thinks the French word for dockworkers--"dockers"--is actually a reference to the preppie American clothing line of the same name, and thus misinterprets a Moroccan poster to signify common cause between rockers and preppies. D'oh!) But assuming you have at least a high school education and care about topics beyond whether Cliff Burton or Jason Newstead was the best Metallica bassist, you may find that this book provides engaging food for thought despite such passing mistakes.
If there's a major flaw to "HEAVY METAL ISLAM," it has to do with its title and framing which are just a tad misleading. LeVine's analysis in fact extends to various Middle Eastern musicians (rappers, hip-hop artists, rockers and others) who have little or no connection to heavy metal. But I suspect the author made metal the book's titular focus for two reasons: one, he's clearly an aficionado of the genre, and two, he wanted to amp up the paradoxical, unexpected nature of his subject matter for potential readers ("Metalheads in the Middle East? Who knew?"). I used the same gimmick in titling this review.
And LeVine is fully aware that the cultural scene he documents in this book remains marginal, both in its popular appeal and its political significance. Yet his exploration of that scene enables him to get to the heart of several contemporary Middle Eastern societies, to experience the stifling frustration felt by young Arabs (and Persians, and Pakistanis) growing up under corrupt, authoritarian regimes, and to consider the means at their disposal for expressing and venting that frustration. Will metal music (or hip-hop, or rap, or what have you) change the world? Doubtful, but it can certainly change the way you think about the modern Middle East and its relationship to the West once you've read "HEAVY METAL ISLAM."
3 of 4 people found the following review helpful.
Review by the Berglund Center for Internet Studies
By Berglund Center for Internet Studies
This fine book begins with an introductory chapter on the relationships between rock and resistance in Muslim youth subcultures. Following this introduction are six country-specific chapters which each provide an overview of politics and resistance music, including: Morocco, Egypt, Israel/Palestine, Lebanon, Iran and Pakistan. In each of these chapters, the unique character of local heavy metal and Islamic cultures are analyzed, along with an overview of how local governments have responded to the challenges these oppositional movements pose. For example, the chapter on Morocco states that "fourteen heavy-metal musicians and fans were arrested in February 2003, tried, and convicted of the absurd crime of being 'Satanists who recruited for an international cult of devil-worship,' and of 'shaking the foundations of Islam,' 'infringing upon public morals,' 'undermining the faith of a Muslim,' and 'attempting to convert a Muslim to another faith'" Le Vine observes that "Similar raids have occurred against heavy-metal-listening 'devil worshippers' in Lebanon, Egypt and Iran." An epilogue concludes the book, by taking a look at the future of Islamic societies where youths turn to "heavy metal and hip hop" to "cope with the stress produced by lives spent, at least on the surface, on the margins of their societies."
For a full review see Interface Volume 9 Issue 5.
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