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Brown, A. R. (2018). A manifesto for metal studies: Or putting the ‘politics of metal’ in its place. Metal Music Studies, 4(2), 343–363.
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Rivera-Segarra, E., Varas-Díaz, N., Mendoza, S., & Díaz, X. (2018). Ancestral morbid fascinations: Reformulating local culture through metal music in Puerto Rico. Metal Music Studies, 4(1), 175–186.
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Stricker, J. A. (2018). Ascending the Improbable Heights: An Examination of High-Pitched Male Heroism in Opera and Heavy Metal. Master's thesis, University of Miami, Coral Gables.
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Patterson, D. (2018). Black metal: into the abyss. Rosières-en-Haye: Camion blanc.
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Andrew Klein. (2018). Blood, Frets and Tears.
Abstract: “Blood, Frets and Tears” is the exploration of history's gifted guitar players: our Guitar Heroes. From the swing of Charlie Christian's bebop guitar and the psychedelic rock of Jimi Hendrix, to the majestic fire of Eddie Van Halen, join us for a momentous and joyous musical trip in the most definitive celluloid document ever filmed on the sound and soul of the electric guitar. (Amazon.com) /
Director: Andrew Klein; Writers: Andrew KleinBarry Kolsky(story);
Stars: Michael Angelo Batio, Jennifer Batten, Jack Blades, Carlos, Davazo, Lita Ford, Paul Gilbert, Brad Gillis, Bruce Kulick, George Lynch, Tony MacAlpine, Billy Sheehan, and others. / Production Companies: Cut My Flix; Lucky 13 Cinematic; Velocity Films; Distributors: Cut My Flix (2019) (USA) (video); Velocity Films (2019) (USA) (video).
Keywords: Documentary film, Dokken, Eddie Van Halen, George Lynch, Jimi Hendrix, Lita Ford, Lynch Mob, Mr. Big, Paul Gilbert, Quiet Riot, Racer X
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Coulombe, A. P. (2018). Burakku Metaru: Japanese Black Metal Music and the 'Glocalization' of a Transgressive Sub-culture. Master's thesis, University of Arizona, Ann Arbor.
Abstract: This thesis will demonstrate how Black Metal music became established in Japan, how it evolved, and how musicians situate themselves in a globalized form of community. It is a study of how Japanese Black Metal functions in the tensions between globalization and localization, a term called “glocalization” (Victor Roudometof 10). Japanese Black Metal is globalized around a set of rules and ideas, a term Deena Weinstein uses to describe Heavy Metal music called “codes” (Heavy Metal the Music 100). Additionally, as this music is localized, it reveals how many Japanese musicians express uniquely cynical viewpoints of religion and established authority using these globalized codes. Due to its anti-Christian and brutal history in other countries, Black Metal is seen as transgressive against mainstream society. Through electronic ethnographic research with Japanese Black Metal artists, this thesis finally examines how Black Metal is at once desirable yet also transgressive in Japanese society, a country with a comparatively low population of Christians.
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dos Santos Silva, M. A. (2018). Cartas, fitas cassete e fanzines: A circulação do metal no Brasil como modelo da dádiva. Metal Music Studies, 4(1), 231–239.
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Vitolo, E. (2018). Children of Doom. Milano: Tsunami.
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Vanek, G. (2018). Classical idiom and compositional structure in Gorguts’s Pleiades’ Dust. Metal Music Studies, 4(3), 573–583.
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Fuertes Sánchez, F. (2018). Configuración del underground metalero en Bolivia: El caso de la banda de metal extremo Subvertor. Ph.D. thesis, Universidad Andina Simón Bolívar, Quito.
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