Heavy metal music can be a means of artistic expression; it can also be an accessory of war. Making its first appearance in Iraq and Syria in the 1980s, it has functioned as an agency of power, endurance, anger, and abuse. Artists, fans, and the military of al-Mašriq have found that metal can be used for catharsis, rebellion, or torture.
The extreme metal subgenres of thrash metal, death metal, and black metal have become important components of the Iraqi and Syrian civil conflicts. In these contexts, metal music can be a source of empowerment for both civilians and the military; it can be the only stability that some draw from during the continual devastation to their communities, and in exceptional circumstances it can provide passage out of the region.
This according to “Resistants, stimulants, and weaponization: Extreme metal music and empowerment in the Iraqi and Syrian civil conflicts” by Sam Grant (Metal music studies III/2  pp. 175–200).
Above and below, the Kirkuk-based Dark Phantom, one of the groups discussed in the article.
Toward the middle of the 13th century B.C.E., shortly after a granddaughter of the great Hittite king married the Ugaritic ruler, a matrimonial scandal shook the kingdom. The first lady of the city-state of Ugarit was accused of disporting herself with the nobles, of “ceaseless enjoyment” with them: the Akkadian word ṣiāḫum (to laugh joyfully, to flirt) was the discreet description of conjugal infidelity.
“To laugh” had been the euphemism for sexual intercourse and physical love for at least 700 years, as is attested in Paleo-Babylonian love songs. Already in Sumerian songs of the beginning of the second millennium B.C.E., the verbs “to delight” and “to utter joyful cries” were used to describe amorous play.
The language of love in Aššurian songs is one of metaphors and discreet allusions; carnal love is mentioned only indirectly, through stock literary devices stemming from a long tradition. Amorous metaphors include “the scent of cedar is your love”, “she seeks the garden of your opulent love”, and “today my heart is full of play and music”.
This according to “La musique des amoureux” by Brigitte Groneberg (Dossiers d’archéologie 310 [février 2006] pp. 50–54).
Above, a Paleo-Babylonian plaque; below, Peter Pringle performs his recreation of an ancient Egyptian song that uses similar metaphors.
Wright arrived in Iraq in May 1957, just one month short of his 90th birthday, and after two audiences with King Faisal II he left with permission to build an opera house and incorporate it into development of a vast site in the middle of the Tigris River—an uninhabited area that Wright believed was the site of the Garden of Eden.
In July 1957, in a speech back in the U.S., he said “I happen to be doing a cultural center for the place where civilization was invented—that is, Iraq. Before Iraq was destroyed it was a beautiful circular city built by Harun al-Rashid, but the Mongols came from the north and practically destroyed it. Now what is left of the city has struck oil and they have immense sums of money. They can bring back the city of Harun al-Rashid today.”
Unfortunately, following the military coup of July 1958 the project was rejected; it was too extravagant for the military leadership, and too closely identified with the old monarchy.
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