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As the world struggled to come to grips with the Covid-19 pandemic, over twenty scholars, practitioners, and global leaders wrote brief essays for this curated chapter on the role of global leadership in this extreme example of a global crisis. Their thoughts span helpful theoretical breakthroughs to essential, pragmatic adaptations by companies.

Social movement organizations are concerned and cognizant of their public image and typically need to maintain positive public perception to gain and sustain support. White supremacist organizations believe that they are highly stigmatized, reviled, and surveilled groups and go to great lengths to protect their desired self-representation. Through a qualitative analysis of close to 2 million Discord chat messages from white supremacist organizations, I find that white nationalist groups attempt to cater their public appearances through three primary axes: organizational, activism, and individual/membership. This chapter uses concepts from Goffmanian sociology, such as Stigma, Impression Management, and Frontstage/Backstage, to highlight how political movements discuss, argue, and debate the public image they wish to deploy. Studies on right-wing movements tend to be “externalist” in the sense that they look at publicly available documents which privilege the views of leadership. This chapter uses a dataset which delves into the social movement “backstage,” enabling us to view white supremacists' private conversations, their impression management strategies, and how they wish to appear on the “frontstage.”

Comedy and parody in rock and metal music have been around since the genre's inception. The Italian comedic music genre known as rock demenziale employs the use of nonsense and surrealism which turns conventions upside down. The demenziale has also attracted a slew of bands that employ this humour within the heavy metal genre, most famous of which is the Roman band Nanowar of Steel. With their jabs at Manowar and power metal bands, they place mundane activities and characters into the grandiose medievalist and fantasy worlds commonly used by those bands to the point of absurdity. However, with humour being deeply culture-specific, jokes that draw from a country's pop culture and makes extensive use of puns may be lost to an audience not familiar with that culture. Nanowar of Steel's unique position of having songs written in seven languages, primarily English and Italian, allows us to take a deeper look at how language and humour interfaces with the local and global metal scenes.