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Pérez González, B. N. (2019). Black Sabbath y el cronotopo del carnaval. Sincronía, xxiii(75), 186–194.
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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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Burns, L. (2019). Dynamic Multimodality in Extreme Metal Performance Video: Dark Tranquillity’s ‘Uniformity,’ Directed by Patric Ullaeus. In L. Burns, & S. Hawkins (Eds.), The Bloomsbury Handbook to Popular Music Video Analysis (pp. 183–200). Bloomsbury Academic.
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Kosek, J. (2019). O wybranych aspektach badań (auto)biograficznych narracji transmedialnych twórców rockowych (casus Johna Ozzy‘ego Osbourne‘a). In J. Osiński, M. Pranke, & P. Tański (Eds.), Kultura rocka 2. Słowo, dźwięk, performance (pp. 181–192). Toruń: Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika.
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Yang, Z. (2019). Build an Active Foundation for Heavy Metal Subculture Community Success in Contemporary Society. Master's thesis, University of Cincinnati, Ann Arbor.
Abstract: Since the first album that Black Sabbath released in 1970, the 50-year-long history of heavy metal music makes it has developed into a diversified but controversial subculture all over the world. Even though several big names, such as Metallica, Iron Maiden or Judas Priest, have gained commercial success and mainstream exposure, most of the heavy metal bands, fans and communities are still far from a stable status. The market scale is threatened by poor social acceptance and incorrect stereotypes and is too limited to develop an operational model for heavy metal music communities as mature as mainstream music production in this current state. The goal of this thesis is to: 1) explore the core value of heavy metal subculture and design an organizational strategy to strengthen the connection between various roles within the community. The research was divided into three parts. The first part is the quantitative research on the development of heavy metal music in different regions, shows the regional trends of heavy metal subculture. The second part is the qualitative evaluation of heavy metal albums’ covers and lyrics, and documentary films about heavy metal music. The third part is the interviews with record shop owners. The first part Borrowing the CIS (Corporation Identity System) from the business field, the data collected during the second stage could be categorized into visual identities, communication identities, and behavior identities. The data collected from interviews are organized into a system map to show the current organizational strategy. The conclusion, this thesis proposes a new type of organizational strategy that supports the local heavy metal subculture community, in order to help stabilize the market and strengthen connections of community members through participation in it. Furthermore, inspired by the proposed strategy, more universal strategies and guidelines for other types of subculture are discussed.
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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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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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Gardenour Walter, B. S. (2019). Satanic Bowels: Medieval Inversion and the Black Metal Grotesque. In R. Barratt-Peacock, & R. Hagen (Eds.), Medievalism and Metal Music Studies: Throwing Down the Gauntlet (pp. 171–180). London: Emerald.
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Skelchy, R. P. (2019). Worshippers of the sugarcane fields: Agrarian politics, symbolic inversion and black metal in Indonesia. Metal Music Studies, 5(2), 163–186.
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Barratt-Peacock, R. (2019). The Villon that Never Was. In R. Barratt-Peacock, & R. Hagen (Eds.), Medievalism and Metal Music Studies: Throwing Down the Gauntlet (pp. 157–170). London: Emerald.
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