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Cooper, G. (2015). Die lustige Globalisierung des Metals und seine düstere Zukunft in der Zeichentrickserie Metalocalypse. In D. Stoop, & R. Bartosch (Eds.), (Un)Politischer Metal? Musikalische Artikulationen des Politischen zwischen Ideologie und Utopie (pp. 89–106). Trier: Wvt.
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DiBernardo, S. (2015). Heavy Metal’s Ironic Edge: Distortion, Demonization and Noise Control. In S. A. Wilson (Ed.), Music at the Extremes: Essays on Sounds Outside the Mainstream (pp. 195–212). Jefferson: McFarland.
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Dyck, K. (2015). The (Un)Popularity of White-Power Music. In S. A. Wilson (Ed.), Music at the Extremes: Essays on Sounds Outside the Mainstream (pp. 157–176). Jefferson: McFarland.
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Hay, A. (2016). ‘Cruelty Brought Thee Orchids’ (and irony) – The covert social satire of Cradle of Filth. Metal Music Studies, 2(1), 125–134.
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La Rocca, F. (2017). The Viking raids of England in metal music: From ideology to parody. Metal Music Studies, 3(2), 219–229.
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Nohr, R. F., & Schwaab, H. (Eds.). (2011). ”Metal matters”. Heavy Metal als Kultur und Welt. Münster: Lit.
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O’Neill, A. (2017). A History of Heavy Metal. London: Headline.
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O’Neill, A. (2018). Metal story. Vanves: Hachette.
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Pack, C. (2018). Hellbound in El Salvador: Heavy Metal as a Philosophy of Life in Central America. Ph.D. thesis, Johns Hopkins University, Ann Arbor.
Abstract: Heavy Metal in El Salvador has been a driving force of the underground culture since the Civil War in the 1980s. Over time, it has grown into a large movement that encompasses musicians, producers, promoters, media outlets and the international exchange of music, ideas and live shows. As a music based around discontent with society at large, Heavy Metal attempts to question the status quo through an intellectual exploration of taboo subjects and the presentation of controversial live shows. As an international discourse, Heavy Metal speaks to ideas of both socio-political and individual power based around a Philosophy of Life that exalts personal freedoms and personal responsibility to oneself and their society. As a community, it represents a ‘rage’ group, as defined by Peter Sloterdijk, that questions Western epistemologies and the doctrines of Christian Philosophy. This is done in different ways, by different genres, but at the heart is the changing of macro- (international) discourses into micro- (local) discourses that focus on those issues important to the geographic specificity of the region.
In the case of Black Metal, born in Norway, it is interpreted in El Salvador through the similarities between the doctrines of Hitler and those of the most famous dictator in the country’s history – General Maximiliano Hernandez – and then applied, ironically, to the local phenomena of the Salvadoran Street Gangs (MS-13 and 18s) and their desired extermination. It is also done through the re-interpreting of folk metal in the local phenomenon of tribal metal that reinterprets the indigenous through the lens of modern society and heavy metal’s ideas of power. Finally, the Salvadoran metalhead adapts the genre’s vulgarity and dark humor to fuel their own systems of dealing with harsh repression and existing within a society that seems to have no place for them. At the bottom though, much more than a community, Heavy Metal in El Salvador is a source of fraternalismo that utilizes the Philosophy of Life to bind its members together and to provide them a means by which to express their personal freedoms within a society that would happily see them limited.
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Wagenknecht, A. (2011). Das Böse mit Humor nehmen. Die Ernsthaftigkeit des Black Metal und deren ironisierende Aneignung am Beispiel von Fanclips auf YouTube. In R. F. Nohr, & H. Schwaab (Eds.), ”Metal matters”. Heavy Metal als Kultur und Welt (pp. 153–164). Münster: Lit.
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