Freelance writer and independent scholar based in Pittsburgh, PA whose writing has appeared in The Guardian, Afropop, Metal Hammer, Metal Music Studies and The Pittsburgh City Paper.

• AcknowledgementsIntroduction: Redefining the Boundaries of ScenesPART I: HEAVY METAL AND CULTURAL CONFRONTATIONS1. Arka’n Asrafokor and the Reinvention of Togo2. Dark Suburb: The Rebellious Sons of a Nation and the Amplifying of the Silent in the City of Hope3. Lights, Camera, Leather! Kalahari Snapshots, Global Visions and Marginal ExistencesPART II: HEAVY METAL AND POLITICAL CONFRONTATIONS4. Apartheid’s Haze: Finding Clarity through Heavy Metal in South Africa5. Kenyan Dreams, Nairobi Nights: Heavy Metal and Hope in the Post-Authoritarian KenyaConclusion: Confronting Realities through Heavy Metal Endnotes References Index

'Reinforces the idea that African heavy metal is diverse and a vital platform for exploring and redefining postcolonial identities and expression, as well as resisting authoritarianism, capitalism, and exploitation of African people and resources.'

Freelance writer and independent scholar based in Pittsburgh, PA whose writing has appeared in The Guardian, Afropop, Metal Hammer, Metal Music Studies and The Pittsburgh City Paper.

• AcknowledgementsIntroduction: Redefining the Boundaries of ScenesPART I: HEAVY METAL AND CULTURAL CONFRONTATIONS1. Arka’n Asrafokor and the Reinvention of Togo2. Dark Suburb: The Rebellious Sons of a Nation and the Amplifying of the Silent in the City of Hope3. Lights, Camera, Leather! Kalahari Snapshots, Global Visions and Marginal ExistencesPART II: HEAVY METAL AND POLITICAL CONFRONTATIONS4. Apartheid’s Haze: Finding Clarity through Heavy Metal in South Africa5. Kenyan Dreams, Nairobi Nights: Heavy Metal and Hope in the Post-Authoritarian KenyaConclusion: Confronting Realities through Heavy Metal Endnotes References Index

'Reinforces the idea that African heavy metal is diverse and a vital platform for exploring and redefining postcolonial identities and expression, as well as resisting authoritarianism, capitalism, and exploitation of African people and resources.'

Freelance writer and independent scholar based in Pittsburgh, PA whose writing has appeared in The Guardian, Afropop, Metal Hammer, Metal Music Studies and The Pittsburgh City Paper.

• AcknowledgementsIntroduction: Redefining the Boundaries of ScenesPART I: HEAVY METAL AND CULTURAL CONFRONTATIONS1. Arka’n Asrafokor and the Reinvention of Togo2. Dark Suburb: The Rebellious Sons of a Nation and the Amplifying of the Silent in the City of Hope3. Lights, Camera, Leather! Kalahari Snapshots, Global Visions and Marginal ExistencesPART II: HEAVY METAL AND POLITICAL CONFRONTATIONS4. Apartheid’s Haze: Finding Clarity through Heavy Metal in South Africa5. Kenyan Dreams, Nairobi Nights: Heavy Metal and Hope in the Post-Authoritarian KenyaConclusion: Confronting Realities through Heavy Metal Endnotes References Index

'Reinforces the idea that African heavy metal is diverse and a vital platform for exploring and redefining postcolonial identities and expression, as well as resisting authoritarianism, capitalism, and exploitation of African people and resources.'