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American negativity and rap/metal in the age of supercapitalism
Author: Scott Wilson

The seductive force of American supercapitalism unlocks new markets, unleashing the energy of desire, and provides a destructive version of Satan's rage. At the vanguard of this seduction has been the youthful rage and rebellion of the devil's music, American rock 'n' roll and its multiple related subgenres. This book looks at the most pervasive forms of American popular music in the post-cold-war period. Gangsta rap exploits and informs the consumption of luxury brands. The 'mom and pop rage' of the nu metal bands self-consciously exposes itself as the violent expression, the excess of the implacable banal excess, and of shopping-mall consumerism. The book explores the negativity and the 'niggativity' of American rap/metal in the 1990s in relation to a number of key events in the decade such as the Rodney King riots and the Columbine High School massacre. On the face of it, the gangsta 'nigga' is an unlikely point of identification for suburban white culture. But the phenomenon of the 'wigga' (white, wanna-be-nigga) and the success of companies like Nike testify to the fascination that such a figure holds. Rage Against the Machine (also known as Rage or RATM) do not normally have problems with machines, indeed their music and living depend upon them. Rather, the 'machine' is for Rage another word for the new world order of global capitalism. Death metal groups such as Morbid Angel and Deicide aim to outdo the others in its singular relation to death, shock and outrage.

Annalisa Oboe and Elisa Bordin

. 60 Slaughter, ‘World literature as property’. 61 On the idea of Elvis’s performance as an act of border crossing, see Harrison, ‘Suspended city’, p. 106. 62 H. Bhabha, The Location of Culture (Oxford: Routledge, 1994) . 63 Fehskens goes even further in this reading, asserting that Elvis’s love for Presley may be due to ‘his abiding love for his lost mother rather than with a fascination of American pop music

in Chris Abani
Abstract only
Trish Winter and Simon Keegan-Phipps

musics generally, and is visibly alien to Anglo-American pop music, but is strummed throughout the album in much the same way as an acoustic rhythm guitar, and (thanks to its double courses of strings) achieves a sound similar to that of a twelve-string guitar. As in the other examples discussed in this chapter, then, generic boundaries are permeable and under constant renegotiation. However, it is important to acknowledge that the singularity and foregrounded distinctiveness of Indian music indicates that its role extends beyond simply enabling facilitation of a

in Performing Englishness