|
|
Etter Sr., G. W. (2009). Hip-Hop, Narcocorrido, and Neo-Nazi Hate Rock: A Comparison of Alienated Criminal Groups. Journal of the Institute of Justice and International Studies, 9, 98–112.
|
|
|
|
Faria, F. C. de. (2022). Roots and Routes: The Cultural Politics and Translocality of Hip Hop and Heavy Metal. Doctoral thesis, Universidade Federal de Santa Catarina, Florianópolis.
|
|
|
|
Fletcher, K. F. B. (2019). Vergil’s Aeneid and Nationalism in Italian Metal. In K. F. B. Fletcher, & O. Umurhan (Eds.), Classical Antiquity in Heavy Metal Music (pp. 23–52). London, New York, Oxford, New Dehli & Sydney: Bloomsbury Academic.
|
|
|
|
Foster, L. (2011). The Rhetoric of Heavy Metal Resistance: Musical Modalities in Iraqi Public Life. Middle East Journal of Culture and Communication, 4(3), 320–338.
|
|
|
|
Glasper, I. (2014). The Day the Country Died: A History of Anarcho Punk 1980–1984. Binghamton, New York: PM Press.
Abstract: << In this revealing history, author, historian, and musician Ian Glasper explores in minute detail the influential and esoteric UK anarcho-punk scene of the early 1980s. Where some of the colorful punk bands from the first half of the decade were loud, political, and uncompromising, their anarcho-punk counterparts were even more so, totally prepared to risk their liberty to communicate the ideals they believed in so passionately. With Crass and Poison Girls opening the floodgates, the arrival of bands such as Amebix, Chumbawamba, Flux of Pink Indians, and Zounds heralded a new age of honesty and integrity in underground music. New, exclusive interviews and hundreds of previously unreleased photographs document the impact of all of the scene’s biggest names—and a fair few of the smaller ones—highlighting how anarcho-punk took the rebellion inherent in punk from the very beginning to a whole new level of personal awareness. >>
(SOURCE: https://www.amazon.com/dp/1604865164)
|
|
|
|
Goodrick-Clarke, N. (2003). White Noise and Black Metal. In Black Sun: Aryan Cults, Esoteric Nazism, and the Politics of Identity (pp. 193–212). New York: NYU Press.
|
|
|
|
Granados Sevilla, A. E. (2025). Public revolutionaries, private conservatives: rock performances of leftist political thought. Popular Music, 44(2), 1–16.
|
|
|
|
Hagen, R. (2011). Musical style, ideology, and mythology in Norwegian black metal. In J. Wallach, H. M. Berger, & P. D. Greene (Eds.), Metal rules the globe: heavy metal music around the world (pp. 180–199). Durham: Duke University Press.
|
|
|
|
Halnon, K. B. (2006). Heavy Metal Carnival and Dis-alienation: The Politics of Grotesque Realism. Symbolic Interaction; Hoboken, 29(1), 33–48.
|
|
|
|
Haukkala, H. (2015). The Role Of Loud Popular Music In Revolutionary Social And Political Processes:Some Initial Conceptual Ideas. In K. Kärki, & T. - M. Karjalainen (Eds.), Modern heavy metal: Markets, Practices and Cultures. International Academic Research Conference, June 8–12, 2015, Helsinki, Finland (pp. 70–78). Helsinki & Turku: Aalto University & International Institute for Popular Culture.
|
|
