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Defining 'Australian metal' is a challenge for scene members and
researchers alike. Australian metal has long been situated in a
complex relationship between local and global trends, where the
geographic distance between Australia and metal music's seemingly
traditional centres in the United States and United Kingdom have
meant that metal in Australia has been isolated from international
scenes. While numerous metal scenes exist throughout the country,
'Australian metal' itself, as a style, as a sound, and as a
signifier, is a term which cannot be easily defined. This book
considers the multiple ways in which 'Australianness' has been
experienced, imagined, and contested throughout historical periods,
within particular subgenres, and across localised metal scenes. In
doing so, the collection not only explores what can be meant by
Australian metal, but what can be meant by 'Australian' more
generally. With chapters from researchers and practitioners across
Australia, each chapter maps the distinct ways in which
'Australianness' has been grappled with in the identities, scenes,
and cultures of heavy metal in the country. Authors address the
question of whether there is anything particularly 'Australian'
about Australian metal music, finding that often the
'Australianness' of Australian metal is articulated through wider,
mythologised archetypes of national identity. However, this
collection also reveals how Australianness can manifest in metal in
ways that can challenge stereotypical imaginings of national
identity, and assert new modes of being metal 'downungerground'.
This book is a timely examination of the tension between being a
rock music fan and being a woman. From the media representation of
women rock fans as groupies to the widely held belief that hard
rock and metal is masculine music, being a music fan is an
experience shaped by gender. Through a lively discussion of the
idealised imaginary community created in the media and interviews
with women fans in the UK, Rosemary Lucy Hill grapples with the
controversial topics of groupies, sexism and male dominance in
metal. She challenges the claim that the genre is inherently
masculine, arguing that musical pleasure is much more sophisticated
than simplistic enjoyments of aggression, violence and virtuosity.
Listening to women's experiences, she maintains, enables new
thinking about hard rock and metal music, and about what it is like
to be a women fan in a sexist environment.
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