Author  |
Title |
Year |
Publication |
Volume |
Pages |
| Hoad, Catherine |
A retrospective of Laina Dawes’s “What Are You Doing Here? A Black Woman’s Life and Liberation in Heavy Metal” |
2025 |
Metal Music Studies |
11 |
175-178 |
| 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 |
We are the Sons of the Southern Cross: Gendered Nationalisms and Imagined Community in Australian Extreme Metal |
2016 |
|
3 |
90-107 |
| 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 |
