Romain Garbaye is Professor of British Studies at the Université Sorbonne Nouvelle. His research focuses on the history of immigration and citizenship in the United Kingdom, as well as on the history of British rock music.Gérôme Guibert is Professor of Sociology at the Université Sorbonne Nouvelle. He is a popular music studies scholar and an ISMMS (International Society for Metal Music Studies) board Member.

“This is a sound contribution to the study of popular music, and it will soon find its place in the bibliographies of numerous books and articles in that field. The variety of approaches (from sociology to cultural studies) and the diverse contexts present in this collection (from Northern Ireland to Australia) will no doubt make this volume indispensable to numerous scholars working in various fields.” (Eric DOUMERC, E-rea, erea.revues.org, Vol. 22 (2), 2025)

• 1.Romain Garbaye and Gérôme Guibert, Université Sorbonne Nouvelle.- Introduction : social class, punk and metalClass domination and class agency.- 2.Andy Brown, independent researcher : Resistance Through Music.-  Exploring the role of class fraction appropriations and alliances in the subcultural formation of heavy metal, classic, post and present.- _3 .Deirdre Gilfedder, Université Paris-Dauphine : The early punk scene in Brisbane, Australia as  site of social and postcolonial.- 4. Jeremy Tranmer, Université de Lorraine:  “Victory to the Miners!” Punk and the Miners’ Strike of 1984/85.- Subcultures, sub-genres and social class.- 5.Timothy Heron, Université de Strasbourg :  ‘“Rotting in the suburbs” ? Voicing Working-Class Deprivation in 1970s Northern Ireland Punk Songs.- 6.Guillaume Clément, Université de Rennes : Working-class and middle-class in the age of Brexit: social commentary by contemporary post-punk bands.- 7. Eric Smialek, Huddersfield University : Mapping Social-Class Divisions within Metal: Global Material Conditions, Disciplinary Priorities, Subgeneric Trends, and Stylistic Analyses.- Evolving audiences : ageing, gentrification, feminization?.- 8. Pierig Humeau, Université de Limoges : « We're dominated, So What" ? We Don't Give a F**k : Punk Stylistic Spaces, Social Classes and Political-artistic Ageing" inFrance.- 9.Rosemary Lucy Hill, Huddersfield University, Molly Megson, University of Hull, and David Hesmondhalgh, University of Leeds : Sexual Violence in the Pit.- 10. Corentin Charbonnier, Université de Tours : Gentrifying metal ? The Evolving Gender and Social Class characteristics of  Metal Festival Audiences : A Statistical Study of the HellfestFestival (France).-  11.Charlène Bénard, Université Sorbonne Nouvelle: Who listens to « metal for girls » ? Metal, orchestra and female voices: measuring the reception of symphonic metal.

Romain Garbaye is Professor of British Studies at the Université Sorbonne Nouvelle. His research focuses on the history of immigration and citizenship in the United Kingdom, as well as on the history of British rock music.Gérôme Guibert is Professor of Sociology at the Université Sorbonne Nouvelle. He is a popular music studies scholar and an ISMMS (International Society for Metal Music Studies) board Member.

“This is a sound contribution to the study of popular music, and it will soon find its place in the bibliographies of numerous books and articles in that field. The variety of approaches (from sociology to cultural studies) and the diverse contexts present in this collection (from Northern Ireland to Australia) will no doubt make this volume indispensable to numerous scholars working in various fields.” (Eric DOUMERC, E-rea, erea.revues.org, Vol. 22 (2), 2025)

• 1.Romain Garbaye and Gérôme Guibert, Université Sorbonne Nouvelle.- Introduction : social class, punk and metalClass domination and class agency.- 2.Andy Brown, independent researcher : Resistance Through Music.-  Exploring the role of class fraction appropriations and alliances in the subcultural formation of heavy metal, classic, post and present.- _3 .Deirdre Gilfedder, Université Paris-Dauphine : The early punk scene in Brisbane, Australia as  site of social and postcolonial.- 4. Jeremy Tranmer, Université de Lorraine:  “Victory to the Miners!” Punk and the Miners’ Strike of 1984/85.- Subcultures, sub-genres and social class.- 5.Timothy Heron, Université de Strasbourg :  ‘“Rotting in the suburbs” ? Voicing Working-Class Deprivation in 1970s Northern Ireland Punk Songs.- 6.Guillaume Clément, Université de Rennes : Working-class and middle-class in the age of Brexit: social commentary by contemporary post-punk bands.- 7. Eric Smialek, Huddersfield University : Mapping Social-Class Divisions within Metal: Global Material Conditions, Disciplinary Priorities, Subgeneric Trends, and Stylistic Analyses.- Evolving audiences : ageing, gentrification, feminization?.- 8. Pierig Humeau, Université de Limoges : « We're dominated, So What" ? We Don't Give a F**k : Punk Stylistic Spaces, Social Classes and Political-artistic Ageing" inFrance.- 9.Rosemary Lucy Hill, Huddersfield University, Molly Megson, University of Hull, and David Hesmondhalgh, University of Leeds : Sexual Violence in the Pit.- 10. Corentin Charbonnier, Université de Tours : Gentrifying metal ? The Evolving Gender and Social Class characteristics of  Metal Festival Audiences : A Statistical Study of the HellfestFestival (France).-  11.Charlène Bénard, Université Sorbonne Nouvelle: Who listens to « metal for girls » ? Metal, orchestra and female voices: measuring the reception of symphonic metal.

Romain Garbaye is Professor of British Studies at the Université Sorbonne Nouvelle. His research focuses on the history of immigration and citizenship in the United Kingdom, as well as on the history of British rock music.Gérôme Guibert is Professor of Sociology at the Université Sorbonne Nouvelle. He is a popular music studies scholar and an ISMMS (International Society for Metal Music Studies) board Member.

“This is a sound contribution to the study of popular music, and it will soon find its place in the bibliographies of numerous books and articles in that field. The variety of approaches (from sociology to cultural studies) and the diverse contexts present in this collection (from Northern Ireland to Australia) will no doubt make this volume indispensable to numerous scholars working in various fields.” (Eric DOUMERC, E-rea, erea.revues.org, Vol. 22 (2), 2025)

• 1.Romain Garbaye and Gérôme Guibert, Université Sorbonne Nouvelle.- Introduction : social class, punk and metalClass domination and class agency.- 2.Andy Brown, independent researcher : Resistance Through Music.-  Exploring the role of class fraction appropriations and alliances in the subcultural formation of heavy metal, classic, post and present.- _3 .Deirdre Gilfedder, Université Paris-Dauphine : The early punk scene in Brisbane, Australia as  site of social and postcolonial.- 4. Jeremy Tranmer, Université de Lorraine:  “Victory to the Miners!” Punk and the Miners’ Strike of 1984/85.- Subcultures, sub-genres and social class.- 5.Timothy Heron, Université de Strasbourg :  ‘“Rotting in the suburbs” ? Voicing Working-Class Deprivation in 1970s Northern Ireland Punk Songs.- 6.Guillaume Clément, Université de Rennes : Working-class and middle-class in the age of Brexit: social commentary by contemporary post-punk bands.- 7. Eric Smialek, Huddersfield University : Mapping Social-Class Divisions within Metal: Global Material Conditions, Disciplinary Priorities, Subgeneric Trends, and Stylistic Analyses.- Evolving audiences : ageing, gentrification, feminization?.- 8. Pierig Humeau, Université de Limoges : « We're dominated, So What" ? We Don't Give a F**k : Punk Stylistic Spaces, Social Classes and Political-artistic Ageing" inFrance.- 9.Rosemary Lucy Hill, Huddersfield University, Molly Megson, University of Hull, and David Hesmondhalgh, University of Leeds : Sexual Violence in the Pit.- 10. Corentin Charbonnier, Université de Tours : Gentrifying metal ? The Evolving Gender and Social Class characteristics of  Metal Festival Audiences : A Statistical Study of the HellfestFestival (France).-  11.Charlène Bénard, Université Sorbonne Nouvelle: Who listens to « metal for girls » ? Metal, orchestra and female voices: measuring the reception of symphonic metal.