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Ndoja, D. (2019). German National Socialist Black Metal: Contemporary Neo–Nazism and the Ongoing Struggle with Antisemitism. In “Mister Gorbachev, tear down this wall!” Socio-economic and Political Consequences 30 Years After. History of Communism in Europe, 10. ZETA Books.
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Neilson, T., & Neil, C. L. (2019). A band of ”Northmen”. In G. Bayer (Ed.), Heavy metal at the movies. London & New York: Routledge, Taylor & Francis Group.
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Neuville, J. (2019). Le funeral doom metal: Emergence de la scène, valeurs esthétiques et prototype du genre en Finlande. Ph.D. thesis, Université de Caen., Caen.
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Norman, J. (2019). ‘[…] tentacular invisible mother divine!’: (The) Weird (in) Metal as convergence of sonic extremities and literary margins. Metal Music Studies, 5(2), 225–242.
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Odell, G. K. (2019). A Night at the Opera: Performance, Theatricality, and Identity in the Music of Queen. Master's thesis, University of Missouri, Ann Arbor.
Abstract: Many discussions of the rock band Queen (vocalist Freddie Mercury, guitarist Brian May, drummer Roger Taylor, and bassist John Deacon) reference their theatricality, yet few analyze what makes Queen’s music and performances theatrical. Through examining Queen’s theatricality from different angles, this thesis shows the different layers of Queen’s performativity and its relationship to identity.
After an introductory chapter that surveys the literature about Queen, the second chapter of the thesis analyzes the theatricality of Queen’s music from a stylistic basis. The chapter begins by addressing Queen’s camp theatricality through their use of music hall, operetta, and musical theatre styles. It then addresses their drama-based theatricality through their use of opera and film music styles. The third chapter analyzes Queen’s performance of gender and sexuality through their use of different genres. It first discusses Queen’s participation in the genre of glam rock, in which they performed a more feminine persona, but were still understood as heterosexual. Then it explores Queen’s disco and funk influenced music and Mercury’s “castro clone” image as simultaneously a more masculine and more homosexual performance. Finally the chapter analyzes the various rock genres Queen used throughout their career in order to perform heterosexual masculinity, including hard rock, stadium rock, and heavy metal.
The fourth chapter focuses primarily on Mercury’s performance of ethnicity and nationality through his music. Taking into account his history as a first-generation Parsi Zanzibarian who immigrated to London, it first looks at his and Queen’s expressions of “Britishness” through the figure of the British pop dandy and their use of the British national anthem. Then it turns to discussing the influence of Mercury’s Persian and African heritage on select songs. Finally, it examines religion as it relates to cultural identity, specifically Mercury’s Zoroastrian heritage and the ways he used the aesthetics of heavy metal to articulate his place within that religion. The fifth chapter concludes the thesis by taking a holistic view of how all of these layers of performativity operated simultaneously, endowing Queen’s music with a deep and complex sense of theatricality.
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Okunew, N. (2019). Red Metal – Heavy Metal als eine Subkultur der DDR. Rundfunk und Geschichte, 45(3-4), 66–67.
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Olabarria, L. (2019). “When the Land was Milk and Honey and Magic was Strong and True”: Edward Said, Ancient Egypt, and Heavy Metal. In K. F. B. Fletcher, & O. Umurhan (Eds.), Classical Antiquity in Heavy Metal Music (pp. 173–200). London, New York, Oxford, New Dehli & Sydney: Bloomsbury Academic.
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Olavarría Ginocchio, R. (2019). Entre la profesionalización y el underground. Inicios de la escena metalera en Lima (1983-1989). Master's thesis, Pontificia Universidad Católica del Perú, Lima, República del Perú. Retrieved May 22, 2024, from http://dx.doi.org/http://hdl.handle.net/20.500.12404/15047
Abstract: La presente tesis tiene como objetivo analizar las razones que llevaron a un grupo de jóvenes limeños varones, en la década de los ochenta, a tocar metal, tanto en la variante de heavy metal tradicional como en la extrema, a la vez que busca explicar de qué manera las circunstancias de la realidad nacional, tanto económicas como sociales y políticas, influyeron en la constitución de dicho género musical como escena. Para ello, parto de dos hipótesis. Por un lado, en un contexto de globalización y desestructuración, estos jóvenes encuentran, en la oscuridad, pesadez y potencia del metal, un espacio en el que construir lazos sociales entre pares y afianzar estructuras paralelas de autonomía y poder. Por otro lado, la formación de la escena metalera se da primero en una etapa (1983-1985) de convivencia entre las bandas de metal y las de otros subgéneros del rock; y luego, en una segunda etapa (1986-1989), esta adquiere carácter independiente y se perfila en dos vertientes: una que busca la profesionalización, que eventualmente pierde terreno ante la crisis económica, y otra underground, que lograr sortear la crisis a partir de sus propios códigos, los cuales marcan el futuro de la escena.
Con el fin de poner a prueba dichas hipótesis, realicé entrevistas a participantes de la escena de la época, consulté diversos periódicos, revistas y fanzines, además de fuentes secundarias. Además de confirmar las hipótesis de investigación, esta tesis muestra, primero, que los códigos musicales (en este caso del metal) influyeron en la realidad de los jóvenes que adoptaron dicho género como seña identitaria; y, segundo, que las particularidades de la escena metalera limeña respondieron a eventos y tendencias sociales, políticas y económicas propias de la realidad peruana.
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Oldham, P. ’N. ’. (2019). Heavy Metal Kids: A Historiographical Exploration of Australian Proto-Heavy Metal in the 1960s–1970s. In C. Hoad (Ed.), Australian Metal Music (pp. 19–36). London: Emerald.
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Olivares Merino, J. Á. (2019). Un bosque ignoto: Die Kunst Der Finsternis y las sombras de intertextualidad gótico-expresionista. In F. Galicia Poblet (Ed.), Heavy y metal, a través del cristal. Nuevas perspectivas culturales (pp. 183–214). Madrid: Apache Libros.
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