Black metal is a paradox. A noisy underground metal genre brimming with violence and virulence, it has captured the world’s imagination for its harsh yet flamboyant style and infamous history involving arson, blasphemy, and murder. Today black metal is nothing less than a cultural battleground between those who claim it for nationalist and racist ends, and those who say: Nazi black metal fvck off! Black Metal Rainbows is a radical collection of writers, artists, activists, and visionaries, including Drew Daniel, Kim Kelly, Laina Dawes, Espi Kvlt, Hunter Hunt-Hendrix, Svein Egil Hatlevik, Eugene S. Robinson, Margaret Killjoy, and many more. Across essays and theory-fictions, artworks and comics, we say out loud: Long live black metal’s trve rainbow! This unique volume envisions black metal as always already open, inclusive, and unlimited: a musical genre whose vital spirit of total antagonism rebels against the forces of political conservatism. Beyond its clichés of grimness, nihilism, reaction, and signature black/white corpse-paint sneer, black metal today is a vibrant and revolutionary paradigm. This book reveals its ludic, carnival worlds animated by spirits of joy and celebration, community and care, queerness and camp, LGBTQI+ identities and antifascist, antiracist, and left-wing politics, not to mention endless aesthetic experimentation and fabulousness. From the crypt to the cloud, Black Metal Rainbows unearths black metal’s sparkling core and illuminates its prismatic spectrum: deep within the black, far beyond grimness, and over a darkly glittering rainbow!

Here is the most comprehensive history yet of this fascinating offshoot of extreme heavy metal.

In the early 1990s, members of an extremist black metal cult in Norway burned down churches and desecrated graveyards: what had initially began as a teenage frenzy had now become a dangerous and violent subculture. In this book photographer Peter Beste captures the unusual and disturbing imagery associated with Norwegian black metal.

Uses pictures in various mediums created by Navajo children to help explain Navajo culture and history. Suggests activities for the reader to do relating to family and feelings.

Y'all Means All is a celebration of the weird and wonderful aspects of a troubled region in all of their manifest glory! This collection is a thought-provoking hoot and a holler of "we’re queer and we’re here to stay, cause we’re every bit a piece of the landscape as the rocks and the trees" echoing through the hills of Appalachia and into the boardrooms of every media outlet and opportunistic author seeking to define Appalachia from the outside for their own political agendas. Multidisciplinary and multi-genre, Y’all necessarily incorporates elements of critical theory, such as critical race theory and queer theory, while dealing with a multitude of methodologies, from quantitative analysis, to oral history and autoethnography. This collection eschews the contemporary trend of "reactive" or "responsive" writing in the genre of Appalachian studies, and alternatively, provides examples of how modern Appalachians are defining themselves on their own terms. As such, it also serves as a toolkit for other Appalachian readers to follow suit, and similarly challenge the labels, stereotypes and definitions often thrust upon them. While providing blunt commentary on the region's past and present, the book’s soul is sustained by the resilience, ingenuity, and spirit exhibited by the authors; values which have historically characterized the Appalachian region and are continuing to define its culture to the present. This book demonstrates above all else that Appalachia and its people are filled with a vitality and passion for their region which will slowly but surely effect long-lasting and positive changes in the region. If historically Appalachia has been treated as a "mirror" of the country, this book breaks that trend by allowing modern Appalachians to examine their own reflections and to share their insights in an honest, unfiltered manner with the world.

This important book weaves together trauma, black metal theory and disability into a story of both pain and freedom. Drawing on her many years as a black metal guitarist, Jasmine Hazel Shadrack uses autoethnography to explore her own experiences of gender-based violence, misogyny and the healing power of performance.

The Routledge Companion to Folk Horror offers a comprehensive guide to this popular genre. It explores its origins, canonical texts and thinkers, the crucial underlying themes of nostalgia and hauntology, and identifies new trends in the field. Divided into five parts, the first focuses on the history of Folk Horror from medieval texts to the present day. It considers the first wave of contemporary Folk Horror through the films of the ‘unholy trinity’, as well as discussing the influence of ancient gods and early Folk Horror. Part 2 looks at the spaces, landscapes, and cultural relics, which form a central focus for Folk Horror. In Part 3, the contributors examine the rich history of the use of folklore in children’s fiction. The next part discusses recent examples of Folk Horror-infused music and image. Chapters consider the relationship between different genres of music to Folk Horror (such as folk music, black metal, and new wave), sound and performance, comic books, and the Dark Web. Often regarded as British in origin, the final part analyses texts which break this link, as the contributors reveal the larger realms of regional, national, international, and transnational Folk Horror. Featuring 40 contributions, this authoritative collection brings together leading voices in the field. It is an invaluable resource for students and scholars interested in this vibrant genre and its enduring influence on literature, film, music, and culture.