Seeing Metal Music in Latin America and the Caribbean

Nelson Varas-Díaz; Daniel Nevárez Araújo

doi:10.5771/9781666919790

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Bibliographic data

Copyright year: 2024
ISBN-Print: 978-1-6669-1978-3
ISBN-Online: 978-1-6669-1979-0
Publisher: Lexington, Lanham
Language: English
Pages: 250
Product type: Book Titles

1. Contents No access
2. List of Tables and Figures No access
3. Foreword: A Synesthetic Experience No access
1. 1. Three Dominant Paradigms in the Study of Metal Music No access
  2. The Pathologization Paradigm—Metal Music as Risk No access
  3. The Universal Culture Paradigm—Metal Music as a Valid Endeavor No access
  4. The Distorted South Paradigm—The Appearance of Invisibilized Subjects No access
  5. Seeing Latin America and the Caribbean through Metal Music No access
  6. Strategy #1—Seeing No access
  7. Strategy #2—Revealing No access
  8. Strategy #3—Inverting No access
  9. Strategy #4—Appearing No access
  10. Seeing Metal Anew No access
  11. Notes No access
1. 1. That which Escapes Our Gaze No access
  2. Metal Documentary Film in the Global North No access
  3. Inverting Extractivist Methodologies No access
  4. Rooted Memory No access
  5. Intergenerational Dialogues as Memory No access
  6. Confronting National Legacies No access
  7. Revising History from the Ground Up No access
  8. Coloniality at the Forefront No access
  9. Revealing / Screaming No access
  10. Notes No access
2. 1. The Colonial Experience in the Post-Truth Era No access
  2. The Strategic Darkening of Local Culture No access
  3. Our Dark Experience: Nuestra Herencia (Our Heritage) and Hurricane María No access
  4. We Are Darkness: Charca and the Transformation of the Jíbaro No access
  5. A Dark Resistance: The Vejigante as Social Critique No access
  6. Caribbean Black Metal as Revelation No access
  7. Notes No access
3. 1. Reverberation I No access
  2. Garments of Dissent No access
  3. Reflection #1—Jesús Antonio Córdoba Romero (Jacr)—Director of the Metal to the Bone Blog—Colombia No access
  4. Garments of Dissent . . . Continued No access
  5. Reverberation II No access
  6. Collective Anger/Collective Support No access
  7. Reflection II—Weslie Negrón (Wn)—Bass Player for MOTHS and Marketing Consultant at Dropout Media—Puerto Rico No access
  8. Collective Anger/Collective Support . . . Continued No access
  9. Reverberation III No access
  10. Points of Contact or Si El Norte Fuera El Sur No access
  11. Reflection III—Nibsen Solis (Ns)—Keyboard Player for Sense of Noise (México)9 No access
  12. Points of Contact, or Si El Norte Fuera El Sur… Continued No access
  13. Reverberation IV No access
  14. Thread by Thread: Further Explorations into the Texture of Memory No access
  15. Reverberation No access
  16. Conclusion No access
  17. Notes No access
1. 1. Disabling Colonial Bodies No access
  2. The Powerful Indigenous Body No access
  3. The Visible Indigenous Body No access
  4. Conclusion No access
  5. Notes No access
2. 1. The Experience of the Sugar Plantation No access
  2. Cuban Metal and Spanish Colonialism No access
  3. Puerto Rican Metal and US Colonialism No access
  4. Dominican Metal in the Belly of the Beast No access
  5. Inverting the Machete No access
  6. Notes No access
3. 1. The Incongruity Dominant in Latin American and Caribbean Metal’s Humor No access
  2. “Politicians Got Me Wishing I Could Fire Every One into the Depths of Outer Space”4 No access
  3. Don Ramón Goes Metal—A Case Study No access
  4. Conclusion—The Motömami Reversal No access
  5. Notes No access
1. 1. The Case of Ecuador No access
  2. Family as a Catalyst No access
  3. Seeing Alongside the Oppressed No access
  4. Embeddedness in the Field No access
  5. This Metal Music Is Different No access
  6. Closing Thoughts on Ecuador No access
  7. The Case of Puerto Rico No access
  8. More than Just a Small Metal Music Store No access
  9. Metal Activism and the Verano del 19 No access
  10. Continued Visual Dialogues on Resistance No access
  11. Closing Thoughts on Puerto Rico No access
  12. The Case of Venezuela No access
  13. Metal’s Social Activist Futures No access
  14. Notes No access
2. 1. A Metal Ethics of Affront No access
  2. Principle 1: Acknowledging the Humanity of Those Oppressed by Coloniality No access
  3. Image 1—Argentina No access
  4. Image 2—Cuba No access
  5. Principle 2—Acknowledging the Reality of the Sociopolitical Context No access
  6. Image 3—Argentina No access
  7. Image 4—Cuba No access
  8. Principle 3—The Advancement of Direct (Activist) Action within the Realm of Metal Music No access
  9. Image 5—Ecuador No access
  10. Image 6—Guatemala No access
  11. Some Final Thoughts No access
  12. Notes No access
Bibliography No access Pages 217 - 236
Index No access Pages 237 - 248
About the Authors No access Pages 249 - 250