Devilish Consumption: Popular Culture In Satanic Socialization

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Dyrendal, Asbjørn. “Devilish Consumption: Popular Culture in Satanic Socialization.” Numen: International Review For The History Of Religions 55, no. 1 (January 2008): 68-98.
In the bimonthly, peer-reviewed, academic journal, Numen: International Review For The History Of Religion, Asbjørn Dyrendal explains how mainstream and popular media perpetuated the spread and influence of Satanism from the point of view of the fans. Dyrendal explains how fans of metal music came to associate themselves and the types of music they listened to as satanic. He explains that fans latched onto the rebellious lyrics and style of the genre which in turn led the band members to associate themselves with satanic imagery to attract more fans, thus creating
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One strength of this article is that it is very thorough in explaining how heavy metal music became popular from the the point of view of the fans. Dyrendal explains how and why the demographics of the heavy metal fans arose and how heavy metal has been able to stay popular for over 40 years. One new contribution Dyrendal makes in his article is the distinctions between the different subgenres of metal and the explanations of their different contributions and relationships to metal as a whole. He doesn’t simply put all the …show more content…
Richardson describes how earlier civil court cases against heavy metal musicians oftentimes never made it to the courtroom because the musicians and their lyrics were protected by the first amendment. He explains how the Judas priest case differed due to the prosecuting attorney’s claim that the musicians put subliminal satanic messages in their music. And while the judge ended up ruling in the band’s favor, Richardson concludes by illustrating the new precedent between Satanism and heavy metal. One strength of the chapter is that gives a specific case study of the connection between heavy metal and satanism in the band Judas Priest. The case study allowed for the author to go into specifics and include much more detail about Judas Priest than he would have been able to if he had written about heavy metal court cases in general. One new contribution this chapter is that association between subliminal messaging and satanism. The author asserts that heavy metal musicians put subliminal messages in their songs as a means of promoting satanism. The perception of satanic subliminal messages in heavy metal songs, further cements the association between heavy metal and satanism. One weakness of the article is that is primarily

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