Defiant Sounds

Nelson Varas-Díaz is Professor of Social-Community Psychology at Florida International University, USA.Jeremy Wallach is Professor of popular culture in the School of Cultural and Critical Studies at Bowling Green State University, USA.Esther Clinton taught in the department of popular culture at Bowling Green State University for 16 years on topics ranging from traditional narrative to popular novels to advanced cultural theory. Esther’s tragic, untimely death at age 50 cut short her exploration of these topics, but her many students carry on her legacy.Daniel Nevárez Araújo is Assistant Professor in the Department of English at the University of Puerto Rico - Río Piedras.

Defiant Sounds: Heavy Metal Music in the Global South is an important book, both for metal scholarship (which is a large and expanding global community) and equally for understanding Latin America, Africa, the Middle East, Asia, Oceania, and Indigenous Nations in the current world. Metal was ahead of the curve in grasping the political and cultural changes in the region. The editors are esteemed scholars of metal and globalization.

• Introduction. Of “Metal” and Metal: A Global South Approach to Metal Studies Daniel Nevárez Araújo, Nelson Varas-Díaz, Jeremy Wallach, and Esther Clinton Section 1. CONCEPTUALIZING THE DISTORTED SOUTH 1. Metal Music in the Distorted South: A Call for Defiance and Reflection Nelson Varas-Díaz, Daniel Nevárez Araújo, Jeremy Wallach, and Esther Clinton Section 2: HOPE2. An Exegesis of Excess: Reverberations and Connotations of Feminisms Cartographed via Metal Music in the Global South Susana González-Martínez3. Reclaiming Aotearoa: Stories of Experimentation, Education, and Reflection in Aotearoa Indigenous Metal Music Didier Goossens4. “A Whole New Type of Isolation”: Resilience and Hope in the Navajo Nation Metal Scene during the COVID-19 Pandemic in 2020–2021Anthony J. Thibodeau and Sage Bond Section 3. SOCIAL CHANGE 5. “We Play Heavy Metal Because Our Lives Are Heavy Metal”: A Generation of Metal in the Middle East and North AfricaMark LeVine 6. Youth Activism and Decolonial Metal: Voice Of Baceprot and Alien Weaponry as Case Studies Paula Rowe 7. Coloniality and Gender in the Argentinian Metal Scene: A Study through Four CasesManuela Belén Calvo Section 4. DIALOGUES 8. An Interview on Contar/Cantar Memórias da Resistência Susane Hécate (Miasthenia) and Daniel Nevárez Araújo9. Misusing Things in Metal Music: A Dialogue Manuel Gagneux (Zeal & Ardor) and Daniel Nevárez Araújo 10. The Alternative Side of the Frame: A Dialogue on Southern Inspirations Kobi Farhi (Orphaned Land) and Nelson Varas-Díaz 11. A Dialogue on Metal Festivals and Social Justice Tshomarelo “Vulture” Mosaka (Overthrust) and Edward Banchs Section 5. DIASPORA 12. The Ultra-Violence: Death Angel and Asian American Presence/Absence in Heavy Metal Kevin Fellezs Chapter 13: “Somewhere They Belong”: Metal, Ethnicity, and Scenic Solidarities in Malaysia’s Underground Scenes (1990s to 2000s)Azmyl Yusof and Adil Johan Section 6: TRANSGRESSION 14. Ancient, Evil, and African: Heavy Metal and Conflict in East Africa Edward Banchs 15. The Influence of Different Satanic Panics on the Transgressive Practices of Metal Music in Egypt, Iran, and SyriaPasqualina Eckerstro¨m Section 7: RESISTANCE AND COMMUNITY 16. Decolonizing the Mind’s Eye: Images of Resistance in Caribbean Metal Music Nelson Varas-Díaz and Daniel Nevárez Araújo 17. Nongkrong, Value of Community, and Everyday Resistance in the Indonesian Metal SceneOki Rahadianto Sutopo and Agustinus Aryo Lukisworo18: Satan Wasn’t There: The Perseverance of the Moroccan Metal Scene Amine Hamma and Brian TrottEpilogue. Metal Unbound Esther Clinton, Jeremy Wallach, Nelson Varas-Díaz, and Daniel Nevárez Araújo