Abstract: "Building An Empire: The Story of Queensrÿche examines how the five original members of the band came together in the eastern suburbs of Seattle to create some of the most influential heavy metal albums of the 1980s, including the conceptual masterpiece Operation: Mindcrime.
Discover how the band weathered the loss of key members, a changing industry at the turn of the century, a bitter lawsuit and numerous obstacles to continue a career that has spanned four decades and counting...
Written by James R. Beach, with Brian L. Naron and Brian J. Heaton, Building An Empire: The Story of Queensrÿche examines how the band evolved from album to album, weaving interviews with the band members, managers, producers, peers, family and friends to help tell this honest, riveting tale of how five guys from Seattle's Eastside overcame the odds to become one of the most respected bands in hard rock and heavy metal.
Paul Suter, the acclaimed writer from Kerrang! who broke the story on Queensrÿche in early 1983, penned the book's Foreword. Includes hundreds of rare photos and images throughout the band's career."
(source: https://nwmetalworxmusic.com/)

Abstract: "SYNOPSIS:
This book from NW Metalworx Books by author James R. Beach and co-author and archivist Brian L. Naron. Culled from extensive research, interviews with both past and current band members, crew members, producers, managers, friends, peers and others. Includes numerous rare images and photos, extensive concert listings, discography and a brand new forward by former Grim Reaper guitarist and friend Nick Bowcott."
“NW METALWORX MUSIC is a company formed by three northwest fans of the music scene (James R. Beach, Brian Naron and J.D. Sutton) who grew up there. We are reissuing and issuing LPs of great NW Heavy Metal and Hard Rock bands from the 70s – 90s along with a comprehensive book on the history of the scene.”
(Source: https://nwmetalworxmusic.com)

Abstract: “By contrast, this study will focus on the way in which (some, but not all) doom metal artistsincorporate three cultural ideas into their works; horror, the occult, and the psychedelic. Whilstmuch of metal focuses on horror and monsters, particularly death metal, doom metal's use of moreesoteric material separates it from much of the larger metal genre, and connects it to an eclecticrange of cultural and musical influences. Doom metal's use of such paradigms has not beenexamined thus far, but there is much to be learned from such study; these cultural trends areintegral to understanding the history of esotericism and countercultural practice. In this study I willdefine each of those three cultural ideas, as well as further considering the cultural discourses thatcompose doom metal, and defining which styles within the genre are of the most interest. I will thenanalyse a range of music, album art and interviews with musicians, aiming to pinpoint how, and forwhat purpose, each band incorporates those elements into their style. Further, I will investigate howthese musicians and their works form part of larger zeitgeists (particularly that of esotericism), andwill consider how these artists, in different times and places, have come to utilise similar symbolsand ideas. These commonalities between musicians, I will argue, shows doom metal to be a 'glocal'musical phenomenon that has the ability to utilise a wide variety of cultural ideas and artifacts invariegated situations.” (from 4th page of introduction)

Abstract: El objetivo de este artículo es narrar la experiencia de construcción de un protocolo contra violencias por motivos de género en las prácticas del metal dentro de la región de Nuestra Abya Yala y Nuestra Afroamérica, por parte de la Comisión de Género de la Red de Estudios y Experiencias en y desde el Heavy Metal (REEHM). Para ello se dará cuenta de las diferentes etapas que componen este proceso, las cuales van desde las necesidades iniciales surgidas a partir de diversos ataques de violencia epistémica hacia integrantes de la REEHM, hasta la elaboración colectiva mediante métodos colaborativos. Esto implica la lectura, la reflexión y la escucha cuidada y grupal en la Primera Ronda de Brujxs. Hacia el final se comentan algunas conclusiones y proyecciones futuras vinculadas al metal y las problemáticas de género.
[The aim of this article is to recount the experience of building a protocol against gender-based violence (GBV) within metal music practices in the region of Nuestra Afroamerica, by the Gender Commission of the Heavy Metal Studies and Experiences Network (REEHM). The different stages that make up this process will be described, ranging from the initial needs arising from various attacks of epistemic violence against REEHM members, to the collective elaboration through collaborative methods. This involves group reading, reflection, and careful listening in the Primera Ronda de Brujxs (First Circle of Witches). Towards the end some conclusions and future projections related to metal and gender issues are discussed.]

Abstract: El presente texto muestra los hallazgos de la investigación “Representaciones sociales de la mujer en la cultura del Metal en Bogotá”, tesis de maestría presentada en la Universidad Distrital Francisco José de Caldas en 2012. Dicha investigación fue de corte cualitativo y abordó la perspectiva teórica estructural de las Representaciones Sociales (RS) de Jean Claude Abric (2001). Con ese constructo se determinaron el núcleo central (idea estable y organizadora) y los elementos periféricos (idea flexible auxiliar del núcleo) para las categorías: Mujer y Metal.
Para el estudio, se recurrió a la recolección e interpretación de 19 entrevistas semiestructuradas que se realizaron en Bogotá – Colombia. Las participantes son mujeres escuchas e intérpretes de música Metal con diversas características. En el análisis de instrumentos, se identificaron varios términos con alta frecuencia de reiteración (fuerza, vida, valentía y música), que se agruparon por semejanza, contigüidad o contraste, relacionados con la vivencia de la música Metal desde la perspectiva de las mujeres.
Los hallazgos se presentan relacionados a las categorías: 1. Mujer, asociada a cuatro núcleos: superficialidad, espiritualidad, liberación, pautas restrictivas. 2. Metal, que tiene como núcleos cultura/contracultura, machismo, Identidad/gusto, música, ritmo e interpretación. Así mismo se encontró (entre otras cuestiones) que las entrevistadas definen al Metal, como cultura en tanto genera elementos identitarios a partir de preferencias musicales, rituales, territorios, lenguajes, indumentarias y significados. Las mujeres del medio realizan una “transformación” frente a algunos parámetros de feminidad difundidos tradicionalmente consolidando una especie de feminidad transgresora.