greatly expanding rock music in Peru. Due to financial difficulties and lack of support from promoters, most bands had to play the same few venues, where they build loyal and knowledgeable fanbases. Although the concerts were very small at the beginning (typically 50 people), as the decade progressed, more young people started to notice these bands and fill bigger venues with 500, 1000, or 2000 people. Towards the end of the decade, major concerts like "Acustirock", "El Niño Malo", "Antimiseria" and "Inrockuptibles" each brought in at least 10,000 fans. Peruvian media began to pay attention to these bands in the late 1990s, giving exposure to bands of a decidedly more upper-class and 'safer' sounding rock. The most prominent bands of 'mainstream' 1990s Peruvian rock were Nosequien y Los Nosecuantos, Miki Gonzales and Arena Hash. From this last band, Pedro Suárez-Vértiz went on a solo career and became the most commercially successful Peruvian rocker of the decade. The black metal and death metal scene remained an underground, with a few bands releasing self-produced material. Bands included black-metal acts Illapa, Belzec, and Nahual; and death-thrash metal acts like Dark Silence, Ensalve, and Hadez. Many conflicts between bands (which include trash-talking and rivalries) and critical political and economic issues led to the breakup of many metal groups. A report on Peruvian rock included in the July 1999 issue of Maximum RocknRoll mentions the following bands: Aeropajitas, Manganzoides, 60s garage punk/garage revival, Asmereir, a blend of punk/ska/reggae/hardcore/thrash, Leusemia, that put out a double CD through Coyote Records titled Moxon, Histeria Kolectiva reminiscing of Leusemia, dios hastío euro-crustcore intense and desperate, Ataque Frontal classic I-spit-on-your-face band, one of the shapers of the scene, Psicosis ska/punk orchestra, 3 Al Hilo, punk rock and roll, Metadona female-fronted pop-punk, Magras punk/hardcore and reggae, P. T. K. this means Pateando Tu Kara, Sudor de Huevos (SDH)-punk, Los Rezios, Autonomia, Migraña, Irreverentes, Hazloquechuchapunkron, Perú No Existe, Generacion Perdida. It also mentioned fanzines: Caleta, Sub, Cuero Negro and Crash Boom Zap. 2000s A mature and prolific rock scene soon gained exposure due to the improved economic presence of Peru in the region. Peruvian TV and the Latin American division of MTV took notice of Peruvian bands, and included them in their shows ahead of the Peruvian mainstream radio. Peruvian rock videos were in normal rotation alongside regionally known acts like Soda Stereo, Shakira and Jaguares. Líbido became Peru's most successful band,