By Rosemary Overell (auth.)

ISBN-10: 1137406771

ISBN-13: 9781137406774

ISBN-10: 1349488046

ISBN-13: 9781349488049

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38 Affective Intensities in Extreme Music Scenes I follow the Hepburn Romanisation system of translation, with long vowels indicated with a macron, except in cases where words have entered common use in English (Osaka, for example), and with people’s names where the person prefers their name be Romanised. A glossary of Japanese terms, in kanji (Japanese script), can be found in the Appendix. Japanese names are presented in the order of family name first, personal name second, as is Japanese linguistic custom.

Ryûchi’s bar specialised in playing grindcore and punk music, as well as 1960s American folk rock. Ryûchi was passionate about Osaka’s scene and regularly attended gigs and sometimes hosted bands for uchiage (after party) at Jokerman. He also sold Japanese pressings of Western grindcore music to a global market. He was a former member of the Japanese Communist Party. I also interviewed two gaijin in Osaka. Ant and Lucy were a married couple who were members of Melbourne’s scene and had moved to Osaka to work as English teachers.

The ticket includes one alcoholic drink, worth 500 (AU$5). Almost all the money from the raibu goes to the venue. Bands, instead, see raibu as a means of promoting their music product and attempt to make money from merchandise sales. Occasionally the overlap between activism and grindcore leads to fundraiser raibu, where a portion of the takings support various radical left causes. During the raibu, bands generally follow a hierarchised lineup order, beginning with the youngest band and ending with the oldest.

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Affective Intensities in Extreme Music Scenes: Cases from Australia and Japan by Rosemary Overell (auth.)

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