| |
Author  |
Title |
Year |
Publication |
Volume |
Pages |
Links |
|
|
Zombo, Olive |
Le modèle festivalier en quête de renouveau |
2020 |
French metal studied: Approches différenciées des acteurs et des publics |
|
117-134 |
|
|
|
Wojtala, Malwina |
Inspiracje II wojną światową w muzyce metalowej [Inspirations of the Second World War in metal music] |
2020 |
Artyści i sceny metalowej (kontr)kultury [Artists and the metal (counter) culture scene] |
|
212-225 |
|
|
|
Williams, Dominic |
Embodying the Auschwitz ”Sonderkommando” in extreme metal |
2020 |
Metal Music Studies |
6 |
319-336 |
|
|
|
Wallin, Jason; Venkatesh, Vivek |
‘No satisfaction, no fun, no future’: Futures thinking in black metal |
2020 |
Metal Music Studies |
6 |
175-191 |
|
|
|
Wallach, Jeremy |
Global Rock as Postcolonial Soundtrack |
2020 |
The Bloomsbury Handbook of Rock Music Research |
|
469-485 |
|
|
|
Viteri, Juan Pablo |
DIABLO-HUMA [AYA-UMA]: Fuerza ancentral música independiente. |
2020 |
R-ZINE |
1 |
26-37 |
|
|
|
Vincent, David; McIver, Joel |
I am Morbid: ten lessons learned from extreme metal, outlaw country, and the power of self-determination |
2020 |
|
|
|
|
|
|
Varas-Díaz, Nelson; Scaricaciottoli, Emiliano; Nevárez Araujo, Daniel |
Introduction: A Window into Heavy Metal Scholarship in the Global South |
2020 |
Heavy Metal Music In Argentina: in black we are seen |
|
|
|
|
|
Varas-Díaz, Nelson; Nevárez Araujo, Daniel; Rivera-Segarra, Eliut |
Conceptualizing the Distorted South: How to Understand Metal Music and Its Scholarship in Latin America |
2020 |
Heavy Metal Music in Latin America: Perspectives from the Distorted South |
|
7-36 |
|
|
|
Varas-Díaz, Nelson; Araújo, Daniel Nevárez; Rivera-Segarra, Eliut (eds) |
Heavy metal music in Latin America: perspectives from the distorted south |
2020 |
|
|
|
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