___

• Adha, M. M., Budimansyah, D., Nugroho, A., & Mollison, M. (2021). Lampung Krakatau Festival: Tourism development and active citizens participation to strengthen community civic virtue. Indonesian Journal of Tourism and Leisure, 2(2), 62-75. doi:10.36256/ijtl.v2i2.130
• Allaste, A. A., & Kobin, M. (2012). From underground cultural boundaries in nineties to fluid networks at present. The context of youth (sub) cultural identities in Estonia. Filosofija. Sociologija, 23(2), 93.
• Alshammari, F., & Kim, Y. K. (2019). Seeking and escaping in a Saudi Arabian festival. International Journal of Event and Festival Management, 10(1), 2-16. doi:10.1108/IJEFM-02-2018-0015
• Amoah, D. A. (2020). Adaptation of Larteh folktunes for the piano [Unpublished master’s thesis]. University of Education, Winneba.
• Anderton, C. (2011). Music festival sponsorship: Between commerce and carnival. Arts Marketing: An International Journal, 1(2), 145-158. doi:10.1108/20442081111180368
• Andrinos, M., Metaxas, T., & Duquenne, M. N. (2022). Experiential food tourism in Greece: The case of Central Greece. Anatolia, 33(3), 480-492. doi:10.1080/13032917.2021.1969253
• Asker, S., Boronyak, L., Carrard, N., & Paddon, M. (2010). Effective community-based tourism: A best practice manual. Griffith University.
• Aswad, N. (2020). “Wacken Metal Academy”: Wir studieren jetzt Hardrock in Hamburg. Bild. Retrieved June 1, 2023, from https://www.bild.de/regional/hamburg/hamburg-aktuell/wacken-metal-academy-wir-studieren-jetzt-hardrock-in-hamburg-73203408.bild.html
• Baby, J. (2022). Influence of festival attractiveness, novelty, and experience on attendees' satisfaction: Moderating role of risk awareness in a cultural festival. International Journal of Hospitality & Tourism Systems, 15(2), 123-132.
• Baker, C., & Bishop, A. (2020). Heavy metal music. In P. Crawford, B. Brown & A. Charise (Eds.), The Routledge Companion to Health Humanities (pp. 346-352). Routledge.
• Bennett, A. (2004). Consolidating the music scenes perspective. Poetics, 32(3-4), 223-234. doi:10.1016/j.poetic.2004.05.004
• Bennett, A. (2006). Punk’s not dead: The continuing significance of punk rock for an older generation of fans. Sociology, 40(2), 219-235. doi:10.1177/0038038506062030
• Besculides, A., Lee, M. E., & McCormick, P. J. (2002). Residents' perceptions of the cultural benefits of tourism. Annals of Tourism Research, 29(2), 303-319. doi:10.1016/S0160-7383(01)00066-4
• Binder, V. (2018). Eine empirische Analyse des Stellenwertes von Nachhaltigkeit bei der Organisation deutscher Musikfestivals [Unpublished master’s thesis] Universität Kassel.
• Bohn, D., & de Bernardi, C. (2022). Celebrating 30 years louder than hell: exploring commercial and social ‘Host Event Zone’ developments of the heavy metal festival Wacken Open Air. Annals of Leisure Research, 25(1), 116-137. doi:10.1080/11745398.2020.1825972
• Botti, A., Monda, A., & Vesci, M. (2018). Organizing Festivals, Events and Activities for destination marketing. In M. A.
• Camilleri (Ed.), Tourism planning and destination marketing (pp. 203-219). Emerald Publishing Limited.
• Carlsen, J., & Andersson, T. D. (2011). Strategic SWOT analysis of public, private and not‐for‐profit festival organisations. International Journal of Event and Festival Management, 2(1), 83-97. doi:10.1108/ 17582951111116632
• Castillo, A. D. A. (2022). Storytelling Digital no destino turístico Perú [Unpublished doctoral dissertation]. Instituto Politécnico de Viseu.
• Celemencki, J. (2007). Gettin' skooled: how hip-hop culture shapes the identities of urban youth [Unpublished master’s thesis]. McGill University.
• Charmley, R., Garry, T., & Ballantine, P. W. (2013). The inauthentic other: Social comparison theory and brand avoidance within consumer sub-cultures. Journal of Brand Management, 20(6), 458-472. doi:10.1057/bm.2012.53
• Choo, H., & Park, D. B. (2020). Comparison between local and non-local visitors for local food festivals. Asia Pacific Journal of Tourism Research, 25(6), 692-705. doi:10.1080/10941665.2020.1760905
• Clark, D. (2003). The death and life of punk, the last subculture. In D. Muggleton & R. Weinzierl (Eds.), The post-subcultures reader (pp. 223-236). Berg.
• Clarke, J, Hall, S., Jefferson, T., & Roberts, B. (1976). Subcultures, cultures and class. In S. Hall & T. Jefferson (Eds.), Resistance through rituals: Youth subcultures in post-war Britain (pp.9-74). Hutchinson.
• Cole, N. L. (2019). Reggae to LA with love: Style, authenticity, and nostalgia in Los Angeles’s vintage Jamaican music scene [Unpublished doctoral dissertation]. University of California.
• Coulombe, A. P. (2018). Burakku Metaru: Japanese black metal music and the'glocalization'of a transgressive sub-culture [Unpublished doctoral dissertation]. The University of Arizona.
• Crompton, J. L., & McKay, S. L. (1997). Motives of visitors attending festival events. Annals of Tourism Research, 24(2), 425-439. doi:10.1016/S0160-7383(97)80010-2
• Cruz, J. (1999). Culture on the Margins: The Black Spiritual and the Rise of American Cultural Interpretation. Princeton University Press.
• Delamere, T. A. (2001). Development of a scale to measure resident attitudes toward the social impacts of community festivals, Part II. Verification of the scale. Event Management, 7(1), 25–38. doi: 10.3727/152599501108751452
• Dowd, T. J., Liddle, K., & Nelson, J. (2004). Music festivals as scenes: Examples from serious music, womyn’s music, and skatepunk. In A.Bennett & R. A. Peterson (Ed.), Music scenes: Local, translocal and virtual (pp.149-67). Vanderbilt University Press.
• Drew, R. (2004). “Scenes” Dimensions of Karaoke in the United States. In A. Bennett & R. A. Peterson (Eds.), Music scenes: Local, translocal and virtual, (pp. 64-79). Vanderbilt University Press.
• Duran, E., & Hamarat, B. (2014). Festival attendees’ motivations: the case of International Troia Festival. International Journal of Event and Festival Management, 5(2), 146-163. doi:10.1108/ IJEFM-07-2012-0020
• Elflein, D. (2009). Somewhere in time - Zum Verhältnis von Alter, Mythos und Geschichte am Beispiel von Heavy Metal-Festivals. SAMPLES: Online-Publikationen des Arbeitskreis Studium Populärer Musik e.V. (ASPM), 8, 1-16.
• Emms, R. (2018). Live underground heavy metal: The perseverance and decline of an art world [Unpublished doctoral dissertation]. University of Manchester.
• Fındıklar, Ç. (2017). The Role of festivals in urban identity: A study on the relationship between perception and experience of place; case of Şeb-i Arus [Unpublished master’s thesis]. Middle East Technical University.
• Flew, T., Ryan, M., & Su, C. (2019). Culture, communication and hybridity: The case of the rap of China. Journal of Multicultural Discourses, 14(2), 93-106. doi:10.1080/17447143.2019.1621322
• Formica, S., & Uysal, M. (1995). A market segmentation of festival visitors: Umbria Jazz Festival in Italy. Festival Management and Event Tourism, 3(4), 175-182. doi:10.3727/106527095792232523
• Gallacher, L., & Kehily, M. J. (2013). Youth cultures. In S. Bragg & M. J. Kehily (Eds.), Children and young people's cultural worlds, (pp. 167-218). Policy Press.
• Gautam, A. (2020). Heavy metal and festivalization as a driving force behind Finnish tourism growth [Unpublished Thesis]. Centria University of Applied Sciences.
• Geaves, R. (2019). Prem Rawat and counterculture: Glastonbury and new spiritualities. Bloomsbury Publishing.
• Getz, D. (2007). Event studies: Theory, research and policy for planned events. Elsevier.
• Getz, D. (2008). Event tourism: Definition, evolution, and research. Tourism Management, 29(3), 403-428. doi:10.1016/j.tourman.2007.07.017
• Getz, D., Andersson, T., & Carlsen, J. (2010). Festival management studies: Developing a framework and priorities for comparative and cross-cultural studies. International Journal of Event and Festival Management, 1(1), 29–59. doi:10.1108/17852951011029298
• Gilman, L. (2020). Festivals, Tourism, and cultural conservation: Comparing the Livingstone Cultural and Arts Festival and the Nc’wala Traditional Ceremony in Zambia. Cultural Analysis, 18(2), 1-28.
• Gligorijević, J. (2018). Rethinking Politics in Contemporary Music Festivals: From Brandscapes to Potentially New Forms of Collectivities. Musicology Research, 5, 287-326.
• Gursoy, D., Kim, K., & Uysal, M. (2004). Perceived impacts of festivals and special events by organizers: An extension and validation. Tourism management, 25(2), 171-181. doi:10.1016/S0261-5177(03) 00092-X
• Haenfler, R. (2013). Subcultures: the basics. Routledge.
• Hall, S., & Jefferson, T. (Eds.). (1976). Resistance through rituals: Youth subcultures in post-war Britain. Hutchinson.
• Hare, S., & Baker, A. (2017). Keepin’it real: Authenticity, commercialization, and the media in Korean hip hop. Sage Open, 7(2), 1-12. doi:10.1177/2158244017710294
• Hebdige, D. (1979). Subculture: The Meaning of Style. Routledge.
• Herbst, J. P. (2020). German metal attack: Power metal in and from Germany. In O. Seibt, M. Ringsmut & D. E. Wickström (Eds.), Made in Germany: Studies in Popular Music (pp. 81-89). Routledge.
• Hoad, C. (2021). Heavy metal music, texts, and nationhood: (Re)sounding whiteness. Springer Nature.
• Hoffin, K. (2020). Glocalization, bricolage and black metal: Towards a music-centric youth culture simultaneously exemplifying the global and the glocal. Metal Music Studies, 6(1), 27-48.
• Huang, P. (2020). Research on the Application of Multilevel Fuzzy Evaluation Method to the Evaluation of Tourist Satisfaction with the Festival Tourism in the Third Month Fair. In Proceedings of the 2020 4th International Conference on Management Engineering, Software Engineering and Service Sciences (pp. 235-238). doi:10.1145/3380625.3380675
• Jepson, A., Clarke, A., & Ragsdell, G. (2013). Applying the motivation-opportunity-ability (MOA) model to reveal factors that influence inclusive engagement within local community festivals: The case of UtcaZene 2012. International Journal of Event and Festival Management, 4(3), 186-205. doi:10.1108/IJEFM- 06-2013-0011
• Jones, M. (2010). Sustainable event management: A practical guide. Earthscan.
• Joshi, M. P. V. (2012). Planning cultural-heritage tourism for sustainable development. Golden Research Thoughts, 1(XI), 1-4.
• Kahl, L. (2015). Markenentwicklung von Festivals am Beispiel des Wacken Open Air [Unpublished Bachelor's thesis]. Hochschule Mittweida.
• Kahn-Harris, K. (2011). You are from Israel and that is enough to hate you forever. In J. Wallach, H. M. Berger & P. D. Greene (Eds.), Metal rules the globe: Heavy metal music around the world (pp. 200-226). Duke University Press.
• Kim, J. H., & Jang, S. (2016). Determinants of authentic experiences: An extended Gilmore and Pine model for ethnic restaurants. International Journal of Contemporary Hospitality Management, 28(10), 2247-2266.
• Kinnunen, M., Honkanen, A., & Karjalainen, T. M. (2020). The characteristics of a Finnish metal fan: Comparative study on music festival attendees. Metal Music Studies, 6(2), 215-236. doi:10.1386/mms_00014_1
• Kloeppel, M. (2016). Unveiling extreme metal festival producers: the emergence of narrative identities [Unpublished master’s thesis]. University of Missouri-Columbia.
• Krause, C. (2015). The Metal Festival as a Place for emotional Liberation and Officially permitted Revolution. Friedrich-Alexander-Universität Erlangen-Nürnberg .
• Krimstock, E. G. (2009). Ethnic and subcultural identity: Examining comparisons between social connectedness and collective self-esteem in European-Americans [Unpublished doctoral dissertation]. Alliant International University.
• Laing, J., & Frost, W. (2010). How green was my festival: Exploring challenges and opportunities associated with staging green events. International Journal of Hospitality Management, 29(2), 261-267. doi:10.1016/j.ijhm.2009.10.009
• Lau, T. J. (2005). "Jump!" Aggression, dance and gender roles-a reading of mosh pit culture [Unpublished master’s thesis] University of Oslo.
• Lindsay, N. (2022). Music festivals: Geographies of place-creation and attendee experience [Unpublished doctoral dissertation]. The University of Auckland.
• Lotz, J. (2022). Wacken & Krombacher launchen „Metal-Band“ aus bedrohten Tieren für den guten Zweck. MoreCore. Retrieved June 5, 2023, from https://www.morecore.de/news/wacken-open-air-krombacher-nabu-growling- creatures-metal-band-aus-tieren-fuer-guten-zweck/
• Mair, J., & Laing, J. H. (2013). Encouraging pro-environmental behaviour: The role of sustainability-focused events. Journal of Sustainable Tourism, 21(8), 1113-1128. doi:10.1080/09669582.2012.756494
• Mohr, K., Backman, K. F., Gahan, L. W., & Backman, S. J. (1993). An investigation of festival motivations and event satisfaction by visitor type. Festival Management & Event Tourism, 1(3), 89–97.
• Muggleton, D. (2000). Inside subculture: The postmodern meaning of style. Berg.
• Muior, F. D. A. A. (2016). The expectations and experiences of South African leisure tourists visiting Mozambique [Unpublished doctoral dissertation]. Central University of Technology, Free State.
• Nicholson, R., & Pearce, D. G. (2001). Why do people attend events: A comparative analysis of visitor motivations at four south island events. Journal of Travel Research, 39, 449– 460.
• Nistor, R., & Nedelcut, A. (2019). Identifying and managing risk in organizing cultural events (in the case study of the Romanian music festivals). Вестник Пермского Университета. Серия: Экономика, 14(3), 482-494. doi:10.17072/1994-9960-2019-3-482-494
• O'Rourke, M. (2011). Caught in a mosh. Risk Management, 58(5), 6-7.
• Otnes, C. C., & Shapiro, E. N. (2007). How brand collecting shapes consumers’ brand meanings. In R. W. Belk & J. F. Sherry (Eds.), Consumer Culture Theory (Vol. 11, pp. 401-419). Emerald Group Publishing Limited.
• Owens, L. (2008). From tourists to anti-tourists to tourist attractions: The transformation of the Amsterdam squatters' movement. Social Movement Studies, 7(1), 43-59. doi:10.1080/14742830801969340
• Pereira, L., Jerónimo, C., Sempiterno, M., Lopes da Costa, R., Dias, Á., & António, N. (2021). Events and festivals contribution for local sustainability. Sustainability, 13(3), 1520. doi:10.3390/su13031520
• Phillipov, M. (2012). Death metal and music criticism: Analysis at the limits. Lexington Books.
• Pozdniakov, O. V. (2022). Word-building features of German subcultural vocabulary. Закарпатські Філологічні Студії, 26(2), 96-99. doi:10.32782/tps2663-4880/2022.26.2.17
• Presenza, A., & Iocca, S. (2012). The weight of stakeholders on festival management. The case of music festivals in Italy. PASOS Revista de Turismo y Patrimonio Cultural, 10(2), 25-35. doi:10.25145/j.pasos.2012.10.024
• Quinn, B. (2005). Arts festivals and the city. Urban Studies, 42(5-6), 927-943. doi:10.1080/00420980500107250
• Rose, T. (1994). Black noise: Rap music and black culture in contemporary America. Wesleyan University Press.
• Rowe, P. (2018). Heavy metal youth identities: Researching the musical empowerment of youth transitions and psychosocial wellbeing. Emerald Group Publishing.
• Ryan, C. (2013). Glocal heavy metal: Regional and national belonging in the Ruhrpott [Unpublished doctoral dissertation]. Memorial University of Newfoundland.
• Saetre, J. (2021). Nationhood, identity and subcultures: A case study of the Norwegian rap duo Karpe. Global Hip Hop Studies, 2(1), 55-73. doi:10.1386/ghhs_00033_1
• Scott, N. (2014). Seasons in the abyss: Heavy metal as liturgy. Diskus, 16(1), 12-29.
• Scott, C. (2023). Baltimore Museum of Art Tracks Hip-Hop's Rise from Sub-Culture to the Culture. Forbes. Retrieved June 3, 2023, from https://www.forbes.com/sites/chaddscott/2023/04/19/baltimore-museum-of-art-tracks-hip-hops-rise-from-sub-culture-to-the-culture
• Schaap, J., & Berkers, P. (2014). Grunting alone? Online gender inequality in extreme metal music. IASPM Journal, 4(1), 101-116. doi:10.5429/675
• Shani, A., Rivera, M., & Hara, T. (2009). Assessing the viability of repeat visitors to cultural events: Evidence from the Zora! Festival. Journal of Convention and Event Tourism, 10(2), 89–104. doi:10.1080/ 15470140902946378
• Snell, D. (2012). The everyday Bogans: Identity and community amongst heavy metal fans [Unpublished doctoral dissertation]. University of Waikato.
• Spracklen, K., Lucas, C., & Deeks, M. (2014). The construction of heavy metal identity through heritage narratives: A case study of extreme metal bands in the north of England. Popular Music and Society, 37(1), 48-64. doi:10.1080/03007766.2012.724605
• Spracklen, K., & Spracklen, B. (2014). The strange and spooky battle over bats and black dresses: The commodification of Whitby Goth Weekend and the loss of a subculture. Tourist Studies, 14(1), 86-102. doi:10.1177/1468797613511688
• Stankova, M., & Vassenska, I. (2015). Raising cultural awareness of local traditions through festival tourism. Tourism & Management Studies, 11(1), 120-127.
• Stübner-Lankuttis, M. (2016). Heavy metal bands from 28 countries compete at Wacken. Deutsche Welle. Retrieved June 1, 2023, from https://www.dw.com/en/heavy-metal-bands-from-28-countries-compete-at-wacken/a-19441156
• Sutton, J. (2016). From desert to destination: Conceptual insights into the growth of events tourism in the United Arab Emirates. Anatolia, 27(3), 352-366. doi:10.1080/13032917.2016.1191765
• Sylvan, R. (2002). Traces of the spirit: The religious dimensions of popular music. NYU Press.
• Thi, H. P., Hai, N. N., Van, S. Q., & Khac, D. L. (2022). Tien Cong Festival (Ha Nam Island, Quang Yen Town, Quang Ninh Province): Unique Cultural Characteristics and Festival Protection Solution. In R. Furferi, L. Governi, Y. Volpe, F. Gherardini, K. Seymour (Eds.), The Future of Heritage Science and Technologies: Design, Simulation and Monitoring (pp. 433-444). Springer International Publishing.
• Thomasson, S. (2022). The Festival Cities of Edinburgh and Adelaide. Palgrave Macmillan.
• Thornton, S. (1996). Club cultures: Music, media, and subcultural capital. Wesleyan University Press.
• Turner, T. F. (2016). Sustainable business in the experience economy: An examination of marketplace, consumers and community in the context of Americana music festivals [Unpublished doctoral dissertation]. The University of North Carolina at Greensboro.
• Unger, M. (2016). Sound, symbol, sociality: The aesthetic experience of extreme metal music. Springer.
• Uysal, M., Gahan, L., & Martin, B. (1993). An examination of event motivations: A case study. Festival Management & Event Tourism, 1, 5–10.
• Varas-Díaz, N., & Rivera-Segarra, E. (2014). Heavy metal music in the Caribbean setting: Politics and language at the periphery. In E. J. Abbey & C. Helb (Eds.), Hardcore, Punk and other Junk: Aggressive Sounds in Contemporary Music (pp. 75-92). Lexington Books.
• Varas-Díaz, N., Azevedo, C., & Nevárez, D. (2018). Metal in Latin America. Metal Music Studies, 4(1), 131-135.
• Velikova, N., Slevitch, L., & Mathe-Soulek, K. (2017). Application of Kano model to identification of wine festival satisfaction drivers. International Journal of Contemporary Hospitality Management, 29(10), 2708-2726. doi:10.1108/IJCHM-03-2016-0177
• Vihalemm, T. (2007). Crystallizing and emancipating identities in post-communist Estonia. Nationalities Papers, 35(3), 477-502. doi:10.1080/00905990701368738
• Vinnicombe, T., & Sou, P. U. J. (2017). Socialization or genre appreciation: The motives of music festival participants. International Journal of Event and Festival Management, 8(3), 274-291. doi: 10.1108/IJEFM-05-2016-0034
• Weinstein, D. (2000). Heavy metal: The music and its culture. Da Capo Press.
• Weinstein, D. (2011). The globalization of metal. In J. Wallach, H. M. Berger & P. D. Greene (Eds.), Metal rules the globe: Heavy metal music around the world (pp. 34-59). Duke University Press.
• Weinstein, D. (2016). Ideal, Diminished and Imaginary. In N. Varas-Diaz & N. Scott (Eds.), Heavy Metal Music and the Communal Experience (pp. 3-22). Lexington Books.
• Welles, P. (2022). Women Playing Metal-Beruf & Berufung? Die Protagonistinnen des Musikgenres Heavy Metal [Unpublished master’s thesis]. Universität Graz.
• Williams, J. P. (2007). Youth‐subcultural studies: Sociological traditions and core concepts. Sociology Compass, 1(2), 572-593. doi:10.1111/j.1751-9020.2007.00043.x
• Williams, J. P. (2019). Subculture’s not dead! Checking the pulse of subculture studies through a review of ‘subcultures, popular music and political change’ and ‘youth cultures and subcultures: Australian perspectives’. Young, 27(1), 89-105. doi:10.1177/1103308818761271
• Wilmersdörffer, R., & Schlicher, D. (2018). Evaluating the sociocultural effects of festivals: Developing a comprehensive impact correlation model and its application. In J. Mair (Ed.), The Routledge Handbook of Festivals (pp. 62-70). Routledge.
• Woods, J. (2020). Wacken is NOT Cancelled: Get Your Metal Fix Free with Wacken World Wide Virtual Concert. The Merkle News. Retrieved June 2, 2023, from https://themerkle.com/wacken-is-not-cancelled-get-your-metal-fix-free-with-wacken-world-wide-virtual-concert/
• Yan, G., Kloeppel, M., & Li, X. R. (2017). Producing Extreme Metal festivals: An analysis from Lacan's gaze. Tourism Management, 59, 579-589. doi:10.1016/j.tourman.2016.09.014
• Yang, Z. (2019). Build an active foundation for heavy metal subculture community success in contemporary society [Unpublished doctoral dissertation]. University of Cincinnati.
• Yilmaz, Y., Yilmaz, Y., İçigen, E. T., Ekin, Y., & Utku, B. D. (2009). Destination image: A comparative study on pre and post trip image variations. Journal of Hospitality Marketing & Management, 18(5), 461-479. doi:10.1080/19368620902950022
• Yolal, M., Gursoy, D., Uysal, M., Kim, H. L., & Karacaoğlu, S. (2016). Impacts of festivals and events on residents’ well-being. Annals of Tourism Research, 61, 1–18. doi:10.1016/j.annals.2016.07.008
• Young, J. E. R. (2022). Too country for rock & too rock for country: Cowpunk as regional identity, muted memory, and the aesthetic ethos of alternative performance [Unpublished doctoral dissertation]. Middle Tennessee State University.
• Zanders, M. L. (2012). The musical and personal biographies of adolescents with foster care experience. Qualitative Inquiries in Music Therapy, 7, 71-109.
• Zheng, Y. (2016). "The Screaming Successor": Exploring the Chinese metal scene in contemporary Chinese society (1996-2015) [Unpublished doctoral dissertation]. Bowling Green State University.