| |
Author  |
Title |
Year |
Publication |
Volume |
Pages |
Links |
|
|
Hoad, Catherine |
Significantly Othered: Limp Bizkit and the Politics of Nu Metal “Otherness” |
2023 |
Rock Music Studies |
t.b.c. |
|
|
|
|
Hoad, Catherine |
Heavy Metal Music, Texts, and Nationhood: (Re)sounding Whiteness |
2021 |
|
|
|
|
|
|
Hoad, Catherine |
Polar Fate: Mapping Metal at the Southern Edge of the World |
2021 |
Living Metal: Metal Scenes around the World |
|
|
|
|
|
Hoad, Catherine |
Critical Introduction: What is ‘Australian’ about Australian Heavy Metal? |
2019 |
Australian Metal Music |
|
1-18 |
|
|
|
Hoad, Catherine |
’He can be whatever you want him to be’: Identity and intimacy in the masked performance of Ghost |
2018 |
Popular Music; Cambridge |
37 |
175-192 |
|
|
|
Hoad, Catherine |
Slashing through the boundaries: Heavy metal fandom, fan fiction and girl cultures |
2017 |
Metal Music Studies |
3 |
5-22 |
|
|
|
Hoad, Catherine |
Beer, Blokes And Brutality: Whiteness And Banal Nationalism In Australian Extreme Metal Scenes |
2015 |
Modern Heavy Metal: Markets, Practices and Cultures |
|
300-308 |
|
|
|
Hoad, Catherine |
”Ons is saam” – Afrikaans metal and rebuilding whiteness in the Rainbow Nation |
2014 |
International Journal of Community Music |
7 |
189-204 |
|
|
|
Hoad, Catherine |
’Hold the Heathen Hammer High’ Viking metal from the local to the global |
2013 |
Shifting Sounds: Musical Flow: A Collection of Papers from the 2012 IASPM Australia/New Zealand Conference. |
|
62-70 |
|
|
|
Hoad, Catherine |
“Images and words”: Textual analysis and its uses for metal music studies |
|
The Bloomsbury Handbook of Popular Music and Youth Culture |
|
151-169 |
|
