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Apter, J. (2021). Bad Boy Boogie: The true story of AC/DC legend Bon Scott. Australia: Allen & Unwin.
Abstract: “Bad Boy Boogie is the first biography to focus on Bon's remarkable gifts as a lyricist, frontman and rascal. In short, the real Bon Scott.” (Source: Allen & Unwin)
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Collinson, I. (2019). ‘This is the Funeral of the Earth’: The ‘Dead-end’ Environmental Discourses of Australian Ecometal. In C. Hoad (Ed.), Australian Metal Music (pp. 129–144). London: Emerald.
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Fischer-Giffin, B. J. (2004). The Australian metal guide. Berlin: IP-Verl. Jeske, Mader.
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Glitsos, L. (2019). Frontierswomen and the Perth Scene: Female Metal Musicians on the ‘Western Front’ and the Construction of the Gothic Sublime. In C. Hoad (Ed.), Australian Metal Music (pp. 91–110). London: Emerald.
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Glitsos, L. (2020). “Sticky Business”: An Examination of Female Musicians in the Context of Perth’s Metal Community. Popular Music and Society, 43(1), 93–113.
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Hoad, C. (2015). Beer, Blokes And Brutality: Whiteness And Banal Nationalism In Australian Extreme Metal Scenes. In T. - M. Karjalainen, & K. Kärki (Eds.), Modern Heavy Metal: Markets, Practices and Cultures (pp. 300–308). Helsinki & Turku: Aalto University & International Institute for Popular Culture.
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Hoad, C. (2016). We are the Sons of the Southern Cross: Gendered Nationalisms and Imagined Community in Australian Extreme Metal.3(1), 90–107.
Abstract: "Australia's extreme metal scenes have developed largely in isolation from not only the rest of the world, but also one another. Nonetheless, extreme metal scenes throughout the Australian continent share common sentiments of national identity that allow for the formation of an imagined community across disparate locales. Such nationalistic sentiment, realized through the reiteration of the masculinist master symbols of Australian identity, enables an imagined community to be sustained across extreme metal scenes.
This article explores how music functions as a medium through which communities can be imagined and boundaries between them drawn. Australian extreme metal scenes construct and maintain a sense of nationhood and community in exclusionary, rather than conciliatory ways. The particular experience of belonging offered by Australian extreme metal scenes is hence marked by rigid parameters of what, or who, may constitute “Australianness” in the image of such communion."
(SOURCE: Journal of World Popular Music website)
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Hoad, C. (2019). Critical Introduction: What is ‘Australian’ about Australian Heavy Metal? In C. Hoad (Ed.), Australian Metal Music (pp. 1–18). London: Emerald.
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Hoad, C. (Ed.). (2019). Australian Metal Music. London: Emerald.
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Kruk, J., & Robertson, W. C. (2025). Peripheral Linguistic Brutality: Metal Languaging in the Asia Pacific. Asia Pop!. Honolulu, Hawaii: University of Hawaii Press.
Abstract: << Peripheral Linguistic Brutality is a sociolinguistic investigation into the production of “metalness” through language in the Asia Pacific. Focusing on the ways local music scenes adopt, reject, and modify linguistic ideologies, Jess Kruk and Wesley Robertson (hosts of the podcast Lingua Brutallica) examine how translocal participation in metal settings shapes how and why specific language forms are used to construct “metal language.”
Although much research has been done on language flows and use in global subcultures, their volume intervenes in two key ways. First, most prior work has focused on hip-hop, which unlike metal has an established “origin” dialect, namely AAVE (African American Vernacular English), linked to concepts of authenticity in the scene. Secondly, writing on global language flows has centered around what happens when a language, mainly English, enters a new space or context—not on how individuals employ imported forms and reimagine already extant linguistic resources as indexes, or markers, of new identities. Through interviews with practicing metal lyricists from Australia, Indonesia, Japan, and Taiwan, Peripheral Linguistic Brutality therefore fills gaps in the knowledge of language’s role in translocal subcultures.
Specifically, it sheds new light on how global subcultures spawn new local beliefs about the meaning and purpose of language forms, the sociolinguistic conflicts that can arise and influence language use when a scene enters a new locale, and metal itself as a global practice. >> Source: https://uhpress.hawaii.edu
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