Metal and Transgression: Scenes, Politics, and Religion

6 September

Miroslav Vrzal: Conference opening speech

Keynote lecture

Keith Kahn-Harris

Leo Baeck College; Birkbeck College

Dr Keith Kahn-Harris is a sociologist and writer, based in London. He is a senior lecturer at Leo Baeck College, senior research fellow at the Institute for Jewish Policy Research and an associate lecturer and honorary fellow at Birkbeck College. He has a broad range of interests, including particular expertise in researching metal music scenes and the UK Jewish community. The author or co-author of eight books, editor of several collections and many articles and reviews.

Metal and the Limits of the Body: Disability as Transgression (online)

In this lecture I will explore how engaging with the intersection between metal and disability can help us to understand metal culture more fully, and also contribute to the transformation of metal scenes into spaces that are inclusive of people with diverse disabilities. While metal and disability might seem a marginal topic, understanding the ways in which metal culture engages with the limits of the body is, in fact, central to understanding metal's transgressive culture. Metal's distinctive approach to the body focuses on the embodied borderlands between death/life, pure/impure, whole/mutilated. Metal lyrics explore mutilations, amputations, wounds, sickness and putrefaction. Metal discourse is suffused with the tales of those whose excessive practice – whether it be substance abuse, or extreme asceticism – has brought them beyond the realm of the ‘healthy’. The metal body can be one that exercises is potency and, hence, disability is its inevitable corollary. Yet the ubiquity of 'the disabling' within metal is rarely accompanied with explicit reference to disability as a social category; nor are people who openly define themselves as disabled prominent within metal scenes. Indeed, it is difficult to think of any well-known examples of, for example, musicians who use wheelchairs or are visually impaired. If the social category of disability has a place in metal discourse at all, it is mostly found in two forms. The first is those who have been disabled as a direct or indirect consequence of their participation in metal scenes. The second form is those who have ‘invisible’ disabilities that allow metal scene members to ‘pass’ as if they were ‘like anyone else’.

Coffee break

Shamma Boyarin (University of Victoria): “Are We (Not) Evil?”: Jews, Metal and Transgression

In a 2012 interview to Decibel Magazine, Dave Mustaine recounted that when guitarist Marty Friedman auditioned for Megadeth: “I remember talking to my manager and saying ‘This is the guy. But his name's Friedman. That ain't very metal. Can we get him to change his last name? A stage name?’” For Dave somehow the name “Friedman” isn’t metal, while “Mustaine” is. While, clearly part of this reaction can be attributed to Mustaine’s own prejudices, there are many who would agree that Jews “ain’t very metal”- or at least not metal in the way of Vikings, Romans not transgressive folk. On the other hand, when self-identified ex-Evangelical Christian A. L. N. wanted to express his rejection and apostasy from Christianity he used a term from the Old Testament, specifically in Hebrew to name his band Mizmor- מזמור. Of course I am not arguing that for A. L. N. it was Jews as such that were seen as transgressive, but rather that from the perspective of the Christianity he was raised in the Old Testament and Hebrew were “Un-Christian.” Still this points to a way that from a Christian centered perspective Jews or Jewishness can become symbolically transgressive in a metal context. And more generally, through (a problematic) Christian connection of Jews to Satanism and materiality, there is a way that Jews and Jewishness can be seen as a transgressive symbol available for metal’s predominately Christian influenced discourses. Both of these positions, the one that views Jews as not metal, and the one that uses aspects of Jewishness as a foil for Christianity, are viewing Jews and Jewishness from the perspective of the non-Jew, and particularly that of the Christian or Christian influenced. While it is important to consider and think of the Jewish perspective on this issue- what did Marty Friedman think about his name not being metal- I will not address this topic in this presentation.

Ondřej Daniel (Charles University): Nihil Obstat: Approaching Transgression in the Second Wave Black Metal

Due to its extreme and often controversial elements, including its musical style, lyrical themes, and visual aesthetics, black metal became a topic of a relatively large body of scholarly work. Breaking of societal norms and boundaries and provoking and challenging established conventions made of black metal one of the key musical genres when approaching transgression. It´s fast and aggressive guitar riffs, rapid drumming, and high-pitched vocals create an atmosphere of darkness, chaos, and aggression. It´s lyrics often explore dark and controversial topics such as anti-Christianity, Satanism, occultism, misanthropy, nihilism, and even violent and extreme ideologies that shock and provoke reactions from both the listener and society at large. Black metal has a strong anti-establishment ethos and often rejects mainstream ideologies and societal norms, manifested also in the rejection of commercialization, major record labels, and mainstream metal trends. The paper aims to map the current scholarly debate on transgression in black metal in order to present the initial point of the debate about the place and meaning of black metal in the late capitalism.

Elena Bös (Ludwig Maximilian University of Munich): “Ist nur eine schmale Brücke”: Rammstein’s Transgressions between Holocaust Representation and MeToo-accusations

Departing from the assumption that Metal culture with its aesthetic dedication to ‘evil’ has the potential to provide a unique perspective to the question of how to deal with absolute real evil, I contend there exists a spectrum of representation of the Holocaust within Metal. This spectrum ranges from Holocaust denial or glorification in the right-wing extremism of NSBM to a discourse of ‘no more’ by left-winged bands mirroring the universalized Holocaust remembrance discourse, where the Shoah functions as marker of evil and as a stand-in for genocide in general. Between those two distinctly political poles there exists what could be termed as a ‘grey zone’: In correspondence to metal’s fascination with violence and evilness of human nature, here the perpetrator’s perspective is at the forefront, engendering questions about ethical limitations and possible benefits. A prominent example of mainstream discourse’s first instinct to mark Holocaust representation in Metal as negatively transgressive is Rammstein’s ‘Deutschland’ (2019), especially the controversy following the teaser where the band members impersonate concentration camp prisoners. My close analysis of the concentration camp scenes in the whole music video is conducted through the analytic lense of ‘holocaust impiety’ (Matthew Boswell 2012) and takes into account the intention of band members and the video’s director behind the creative process. As a result, my proposed reading would be that this specific Holocaust representation is not as transgressive as the first instinct would suggest, instead mirroring other artistic/pop-cultural Holocaust representations and overall adhering to the predominant German historical memory discourse. The discussion around ‘Deutschland’ falls in line with accusations of Rammstein deploying fascist imagery and actively encouraging a right-winged fanbase that have been prevalent since the band’s inception in 1995. My paper will try to contextualize these perceived political transgressions in a multi-level analysis with the current debate following the allegations of sexual transgression against lead singer Till Lindemann. While this first and foremost constitutes a question of personal responsibility, the public discussion also contains arguments directed against the musical content and explicit lyrics in Rammstein’s song. Since Lindemann’s alleged actions would suggest a not-so-clear distinction between lyrical I and stage persona respectively and the real person, the validity of musical expression with transgressive content is put up for discussion again. It remains to be seen if this current controversy will “blow over” (as stated by Lindemann himself), as indeed the political accusations did, or if this case will be the stepping stone towards a veritable (and overdue) MeToo-movement denouncing misogynist structures and problematic ‘groupie culture’ in the popular music industry and especially the Rock/Metal scene.

Lunch

(CANCELLED due to Illness) Jorge Mauricio García Cárdenas (Autonomous University of the State of Hidalgo): Redefining Heavy Metal: Subculture and Ethos (online)

From its origins in the marginality and the disadvantaged, Heavy Metal has been associated with deviation, resistance, rebellion, opposition to the establishment and subversion of the dominant culture. However, in recent years it has been progressively accepted by the status quo and widely commercialized by the entertainment industry. This phenomenon promotes a schism in Heavy Metal that shakes its foundations. A central theme in this rupture is its identity, which materializes in the debate on the pertinence of conceptualizing Heavy Metal as a subculture. Therefore, the objectives of this essay are: 1. Identify the variables that define a subculture, 2. Describe the current Heavy Metal scene according to the variables identified, 3. Explore whether the scene can be conceptualized as a subculture today, and 4. Integrate a perspective from the Global South into the debate, specifically a Latin American perspective. Through a literature review based on the contributions of urban ethnography from the Chicago School, cultural studies from the Birmingham School and the Manchester School, post-subcultural studies, the perspective of symbolic interactionism and the subcultural theory of Cohen & Short (1958); it is possible to identify and delimit the variables that define a subculture. With this theoretical framework, Heavy Metal is analyzed in each of these variables, arguing causes, effects and phenomena that confirm or refute its categorization as subculture. The discussion emphasizes the change of generational ethos and its impact on the social, economic, political, and cultural spheres of the Heavy Metal scene of the Global South from a Latin American perspective. The results show that from its origins, Heavy Metal responds to an ethos rooted in the Global North. This ontological perspective responds and is built upon the opposition to the dominant culture. Which inadvertently perpetuates and strengthens in and from its deviation and resistance that provides its identity. The aforementioned phenomena undermine and dilute their once subcultural characteristics. Consequently, Heavy Metal in the Global South influenced by a dominant ethos and pressured by lucrative interests has lost its ability to spark rebellion and resistance. It is intensified by the little influence it receives and exerts on the ethos of the Global South; therefore, it does not promote the conditions for the consolidation of shared meanings and consequently of a subculture. Deviance, rebellion, subversion, and resistance in Latin America have been promoted and encouraged by subcultures originating in the marginalized periphery to strengthen their identity and face reality with expressions such as trova, nueva canción, rock rupestre, ska, reggae, rock, hip-hop and more recently trap. Heavy Metal has not had this impact on the Global South because its ethos is rooted in the ontology of the Global North. Likewise, Heavy Metal has become a consumer product that appeals more to hedonism than to rebellion, resistance, and the consolidation of a community, which inevitably opens other debates.

Tancredi Marrone (Masaryk University): Transgressive Aspects of Parody Metal (online)

What is transgression? A sin? A crime? A rebellion against the status quo? Within the discourse and purposes of music, the Metal genre in all its shapes is certainly credited by insiders and outsiders with breaking limits and barriers whether musical, social or aesthetic. The way in which this transgression has been vehicled in the history of Metal include themes of destruction, subversion, brutality, violence and other forms of philosophical political and aesthetical expressions. Nihilism, pessimism, heroicness or values which point towards intense and romantic, dramatic or epic emotions are also included in these themes. Other methods that are used in the Metal genre are strong and intense sounds and rhythms which complete the aforementioned expressions. However even in this fringe genre there is space for antinomian transgression going beyond the sphere of breaking boundaries, such is parody metal. Going beyond the extreme as if to transcend it to the point of ironizing on itself parody metal expresses an ultimate form of transgression. What are the themes and purposes of parody metal? What inspires it? These and other questions will be discussed in this exploration of ultimate transgression in the context of Metal music and the new perspectives that it brings.

Vojtěch Volák (Charles University): Transgression in Metal Music: With Extremity Towards Irony in Infant Annihilator Music

Hyperbolized transgression is a central motif in the work of Infant Annihilator. This paper aims to show how they use this specific transgression across the different spheres of their work and how they create an affect of irony in a Deleuzian sense in their listeners. The approach of the paper is based on the processualist theory of Gilles Deleuze and Félix Guattari and the perception of metal music as transgression demonstrated by Keith Kahn-Harris.

Coffee break

Anselm Ikenna Odo (Masaryk University): Rebels Unleashed: Unraveling Political Transgressions and Controversies in Nigerian Metal Music

In Rebels Unleashed: Unraveling Political Transgressions and Controversies in Nigerian Metal Music, the use of Nigerian metal musicians' skill to defy expectations and address political issues is examined. Corrupt practices, injustice, and inequity are intertwined in stirring performances and lyrics that strike a chord with listeners. Anti-social or anti-religious themes in the genre complicate the situation, and artists fight restrictions and bans with unyielding activity. The study emphasizes the potential for social change within the Nigerian metal scene, as performers encourage followers to spread awareness and start productive conversations. Overall, "Rebels Unleashed" highlights the radical influence of Nigerian metal music on social expression and politics.

Linda Chmelařová (Masaryk University): Czech Metal and Big Beat as Political Enemies: Persecution and Censorship of Metal and Big Beat Music During the Communist Era in the Wallachia Region

The communist regime in Czechoslovakia was associated with control and censorship of the music industry and individual music groups, which intensified again after a partial relaxation in the 1960s during the period known as normalization from the 1970s onwards. The state organs of communist power paid significant attention to the "harder" music scene, such as hard rock (referred to as "bigbít" in Czechoslovakia) and later punk and metal. Bands playing these music styles often became victims of persecution, police interrogations, and problems with state authorities, censorship, as well as various forms of discrimination and prejudice supported by communist propaganda. This contribution focuses on the outputs of original field research conducted in the northern Moravian region, with a focus on the personal experiences of participants in the local rock and metal scene with censorship and issues related to the communist state apparatus, as well as the functioning of the harder music scene in that era in general.

Miroslav Vrzal (Masaryk University): Christianity and Politics in Initiatives Against Metal Concerts and Festivals in Czechia and Slovakia

The contribution deals with Christian initiatives against selected metal concerts and festivals since 2013 in highly secularized Czechia and in Slovakia with a close connection of religion (especially the Catholic Church) to the state. These initiatives mobilize Christian community but also aims to attract politics. As the contribution will describe, in Czechia it was targeted mainly to the Christian minority and local politics, while in Slovakia religious actors were able to mobilize broader networks against metal concerts/festivals, including nation-wide politics.

Coffee break

7 September

Tom Cardwell (University of Helsinki; University of the Arts London): Re-forming the Chasuble: Links Between Heavy Metal Clothing and Priestly Garments (online)

Links between metal music cultures and organised religions are well established. The subject matters of metal commonly reference religious imagery, narratives and practices, albeit often antagonistically. The role of clothing to communicate metal allegiance is significant. From graphic t-shirts to denim jeans and jackets, leather gear and long hair, the image of the metal musician or fan is used to express membership of metal subcultures. Customised ‘battle jackets’ adorned with band patches, studs and other details mark out committed metalheads. This paper will argue that the battle jacket can be likened to a priestly ‘chasuble’, a decorated robe worn by an official in a church rite or mass. Both garments have performative, decorative and symbolic functions, and externalise the spiritual connection invoked by participation in the rite. By extension, the metal musician or fan can be viewed as a kind of priest or intermediary, facilitating the expression of the atmosphere and values of the live metal experience. The details of the jacket communicate narratives and values of metal. The imagery and texts featured on jackets often seek to be transgressive or allude to the potential for transgression. Subjects depicted may be designed to offend, even to the point of illegality, and violent, blasphemous or morbid themes are common. Denim cut-offs and decorated leather jackets have roots in motorcycle culture. Such clothing in the mid-twentieth century was associated with outlaw values and criminal activity, and something of these associations persist, even if diluted by the appropriation of stylistic codes by mainstream fashion. This presentation will include discussion of a number of artworks made as part of my long-running battle jackets research project.

Alexandra Lupprich (Free University of Berlin): Challenging the Boundaries: Christian “Black Metal” as a Transgressive Phenomenon?

Christian Metal exists independently from a genre structure, primarily on a lyrical level while still being able to embrace any musical style or subgenre. Therefore, it is not limited - in any direction. The term Unblack Metal occurs sporadically in Christian (or Black) Metal related literature and still no one seems to challenge this term or the social phenomenon behind it: Christian Metal played in the style of Black Metal? Since Black Metal has rather negative connotations and is largely associated with an anti-Christian attitude, it seems kind of paradox to choose this music style for Christian Metal. It gives the impression that Christian Metal in the style of Black Metal challenges the boundaries of an understanding about Black Metal. These and other thoughts I want to discuss in this contribution which outlines my PhD project on Christian Black Metal in the DACH-area (Germany, Austria, Switzerland).. It aims to give an initial overview about the structure, main research question, methods and used concepts. Using the ‘Circuit of Culture’ as a theoretical framework, the research field will be structured into five dimensions, suggested by the used theory, and analyzed regarding the construction of meaning in those dimensions. Using the production dimension as a starting point for this qualitative study, the thesis aims to show how bands, as the main player, act as an important authority, how they shape the perception of the produced music and therefore create a musical (and maybe lyrical) subgenre in Christian Metal.

Jiří Lukl (University of Ostrava): Metal in Middle-Earth: Tolkien Inspired Band Names in Metal Music

The works of J. R. R. Tolkien are extremely popular source of inspiration in metal music. Famous examples of Tolkien-inspired metal bands include the German speed/power metal band Blind Guardian, the Austrian atmospheric black metal band Summoning, and – in the Czech and Slovak metal milieu – the Slovak doom metal band Galadriel. Tolkien Gateway, a Tolkien-focused wiki-style website even includes a page on Tolkien metal, which, according to the website, is “a sub-genre of black metal music, influenced by the work of Tolkien. It is more atmospheric and ambient than original black metal, and the lyrics are about Tolkien’s work” (tolkiengateway.net/wiki/Tolkien_metal). There are, however, many instances of bands where the inspiration is apparently in name only. Such bands derive their names from Tolkien’s works, but they do not thematize Tolkien lyrically or in any other fashion. These famously include bands like Amon Amarth, Gorgoroth, Burzum and Carach Angren, but their total number is much higher. According to Metal Archives, bands (partly) named Mordor alone number 28, and the majority does not focus on Tolkien in their lyrics. In fact, the actual lyrical themes of such bands have been extremely diverse, ranging from songs about drugs and weed to songs on national socialism – which is ironic, given that Tolkien was an outspoken anti-nazi. It is perhaps a little surprising that this issue has not been studied yet. This presentation intends to fill this void. Using information found at the Metal Archives website, it will first provide an overview of the sub-genres that bands with Tolkien-inspired names generally belong to (and whether, for instance, there is any correlation between the sub-genre and the name, e.g., names of evil characters and places in Tolkien lore more frequently used by bands in the more extreme sub-genres). It will then explore their lyrics to determine a) the exact proportion of bands that actually thematize Tolkien in their songs, and b) the lyrical themes of the bands that do not. In the future, a qualitative-oriented research would be beneficial to discover the bands’ motivations in using a Tolkien-inspired name and the relationship of their lyrical themes to Tolkien’s work in general.

Lunch

Trip to the city centre

Inese Pintāne (Charles University, Vytautas Magnus University): Binary Oppositions in the Lyrics of the Latvian Pagan Metal Band Skyforger

Listening to folk and pagan metal songs allows us not only to escape from everyday boredom and travel in time to marvellous places full of various deities, cultural heroes, and mythological creatures but also to deepen our knowledge of the history and culture of different nations, thereby prompting us to think of our roots and shaping our unique national identities. Very often, this self-discovery process is led by means of various culturally constructed binary opposition, for instance, we - they, friends - enemies, pagans - Christians, humans - gods. Such binary oppositions not only help us to orient ourselves in the world and find suitable communities to belong to but also give us information on how to be functional members of one or perhaps even more communities. My paper aims to look for such binary oppositions in the creative work of the Latvian folk metal band Skyforger. Given that most of their songs are about Baltic mythology and historical events that were once taking place in the current-day territories of Latvia and Lithuania, I hope, by analysing the lyrics of their songs, to reconstruct the ancient Baltic world with its inhabitants who had their own peculiar religion and customs. My goal is to assess who was considered by the Balts to be a friend or threat to their system.

Michal Puchovský (Slovak Academy of Sciences): Contemporary Pagan music in the Czech Republic: Strategies of Construction of Paganism in Popular Music

The boom of various so called “Pagan” music bands such as Wardruna, Bathory or Omnia has been noted by various academics in their research, mostly from metal or pagan studies. During my dissertation thesis’s research, I have focused on the understanding of Czech Pagan music scene, its history and many genre forms, including metal, folk, ambient and punk. Using my background from religious studies, I opted to focus on how is Paganism (re)created in the lyrics and how is Pagan sound embodied in the music. The conference paper will present to our beloved audience the summary of dissertation research, with focus on the strategies how is Paganism constructed in the music and lyrics of the most prominent contemporary Pagan bands from the Czech Republic from last thirty years.

Barbora Bílá (Masaryk University): The Shift from Metal to Paganism: The Study of the One Tribe

My paper focuses on the connection between metal music and subculture and neo-pagan religious movements. Fact that metal bands frequently use pagan topics and symbolism in their lyrics or presentation is readily apparent. However, it might not be as apparent that many people that take part in the subculture actually become active in pagan religious movement through their involvement with metal. in my paper, I illustrate this dynamic on the Czech metal band called "One Tribe" whose member became active member of paganism.

Coffee break

Ceren Gürseler (Nevşehir Hacı Bektaş Veli University): Transgression of Blackie Lawless: Is He Still a Wild Child? (online)

W.A.S.P., and its founding and only original member, Blackie Lawless, have been critical of politics, ethics and religion. He has not hesitated to make society raise eyebrows by challenging established norms. In fact he quested for transgression, controversy. During his career, however, he has changed his beliefs, arguments on W.A.S.P.’s stage shows, songs and on Christianity. The most prominent example of Lawless’ transformation is his changing attitudes towards the song “Animal”. As its name indicates, W.A.S.P. has been a controversial band since its foundation and inception into the Heavy Metal scene. Although it has never officially confirmed that the name pertains to unwritten motto of the US politics and society, White Anglo Saxon Protestant, several lyrics like from the song “Show No Mercy”, include racist arguments. Blackie Lawless, abandoned his “wilderness” related with his music and stage shows. But he is still a transgressive figure in Heavy Metal scene due to the fact that he hasn’t shunned from acknowledging his Conservative views, opposition to progressive-left wing policies, his devoted beliefs related with Christianity. In fact, in W.A.S.P. latest albums, he has used and referred religious concepts, stories, prophecies from Christianity. Once an occult member, now a devoted Christian, he ceased to perform the song called “Animal (F* like a Beast) due to his beliefs on adultery and his connection between adultery and the song. However, nowadays, during his European and US tour, he performs Animal. His most “extreme” or well-known Conservative political opinion was on the former US president Barack Obama. To Lawless, Obama was a Marxist who aimed to suppress liberty, freedom of the US citizens. In addition to this, he made connections between Obama and Hitler. To him, Obama was a threat to the American core values, beliefs and system. Another example is his usage of the US Confederate flag. The Confederate flag has been a very controversial issue due to its connection with the institution of slavery and the Civil War in the United States. To conclude, W.A.S.P. has pertained transgressive elements since its foundation. However such kind of transgression was altered several times by Lawless. For instance new transgression is in conformity with Lawless’ “own Christianity” but is different from the traditional religious establishment. However his initial transgression was built upon notorious stage shows, controversial lyrics. Once W.A.S.P. was included in the PMRC’s “Filthy 15” list for the song “Animal” however later Lawless himself put the song on his own “Filthy 15” list. But after a while he started to sign the song again. Blackie Lawless’s transformative transgression also reveals several questions on connection between Metal, politics and religion: Does Heavy Metal Has to be progressive in politics? Does Heavy Metal have to be in opposition with established religious institutions, beliefs? Then does Blackie Lawless has been a rebel, symbol of transgression for progressive, left-wing Metalheads?

Miguel Reyes (Autonomous University of Mexico State): You Give Metal a Harsh Name: Naming the Bands as an Act of Ideological Confrontation (online)

The idea of transgression in metal means breaking limits and these are reinforced not only by scenarios, lyrics and contents but also by naming a band. The name of a band is the first aspect of the ideology held by the band and an act of confrontation. Names of bands such as Rotting Christ, Christ Killer, Impaled Nazarene reveal an open confrontation to the Catholic religion and references to taboo concepts or demon legions (such as Zyklon B, Holocaust, Mephistopheles, Lucifer's Cold Embrace, etc). Based on the concept of Transgression and the literary onomastics perspective, this communication wants to provide an insight into the naming of a band as an act of transgression. With this, I try to contribute analysis that go beyond the sonic, lyrical, and visual dimensions of metal transgressive nature.

Sergio Miranda-Bonilla (University of Guanajuato): A City Council Bans the First Mexican Black Sabbath Concert: Eighties Cancelation and Repression as Bridging Code for Today’s Metal Music Identity (online)

On October 2, 1989, police forces in León, Mexico, violently repressed a rock festival taking place in a public venue. The beatings ended with the arrest and detention of organizers, journalists, municipal cultural council officials and attendees. At the time, the same organizing collective was publicly promoting the upcoming performance of Black Sabbath, the English band widely recognized as the first to incorporate the aesthetic elements of heavy metal. The concert was scheduled to take place on October 28, 1989, at the Nou Camp Stadium in León, marking an unprecedented event in the city's cultural history. Less than two weeks after the aforementioned festival, the municipality of León, under its first right wing party administration in history, denied permission for the Sabbath concert, citing security concerns. This denial followed a series of advertisements and public statements by ecclesiastical authorities and ideologically aligned civil organizations, condemning the exposure of youth to such artistic expressions and alleging that Sabbath's music promoted Satanism and moral degeneration. Drawing on Iuri Lotman's proposal regarding canonical art as informational paradox and his concept of culture as a system of codes, this presentation discusses the connection between the events of 1989 in León, Gto., and the historical memory of the 1971 Mexican events (repression of Mexican youth political and rock manifestations), which shape an imaginary in the history of national rock and serve as a bridging text that encodes a process of semiosis at the border between the realm of counterculture and peripheral culture in the city of León: a palimpsest-like composition of historical reference for the current socio-musical identity of rock and metal culture in León, Gto.

Miroslav Vrzal: Conference closing speech

Unofficial social event in Stregobor