Rosemary Lucy Hill – författare

Black Metal, Trauma, Subjectivity and Sound: Screaming the Abyss weaves together trauma, black metal performance and disability into a story of both pain and freedom. Drawing on her years as a black metal guitarist, Jasmine Hazel Shadrack uses autoethnography to explore her own experiences of gender-based violence, misogyny, and the healing power of performance.This profoundly personal book offers a detailed explanation of autoethnography, followed by a careful exposition of the relationship between metal and gender, considering - among other things - how women are engaged with by metal music culture. After examining the various waves of black metal and how this has impacted black metal theory, the book moves on to consider female performers and performance as catharsis, including a discussion of the author's work as guitarist and vocalist with the black metal band Denigrata and her alter-ego, the 'antlered priestess' Denigrata Herself. The book concludes with some thoughts on acquired disability, freedom and peace.The book includes a foreword from eminent gender researcher Rosemary Lucy Hill, a guest section from metal scholar Amanda DiGioia, an epilogue from Rebecca Lamont-Jiggens (a legal pracademic specialising in disability), suggestions of sources of help for those in abusive relationships and further reading for those wishing to learn more about black metal theory.

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.

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. 

Heavy Metal Youth Identities critically examines the significance of heavy metal music and culture in the everyday lives of metal youth. Historically, young metal fans have been portrayed in popular and academic literature as delinquent, mentally unwell, demotivated, and destined for low-achieving futures and poor educational outcomes. So why would young people sign up for this? What’s the specific appeal of metal, and why start embodying a metal identity that others can see and know? And is metal really such a problem for youth development, as some have speculated?To explore these questions, this book draws on narrative research with metal youth that invited them to reflect, in their own words, on the role of metal in their everyday lives. They share their early memories of forming a metal identity during high school years and ways that metal helped them cope with things like bullying, bereavement and challenging family circumstances. They also give us rare insight into ways that metal influenced (and even assisted) their transitions through education and career paths post-school. This book highlights ways that youth workers, educators and parents can work positively to support young people forming subcultural identities and capitalise on their unique strengths and skill-sets. As the globalisation of youth cultures continues to expand against the backdrop of a changing workforce, it is crucial that we learn how to better facilitate the preferred pathways of young people with interests that might be considered 'against the grain' by normative standards. This book takes us a step forward in that direction.

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''.

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'.

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''.

Metal is a form of popular music. Popular music is a form of leisure. In the modern age, popular music has become part of popular culture, a heavily contested collection of practices and industries that construct place, belonging and power. The arrival of Donald Trump in the White House has shown that angry white men still wield huge social and cultural power in this new century. The aim of this monograph is to explore metal music - might be seen as leisure spaces that resist the norms and values of the mainstream; but also how they might also serve to re-affirm and construct those norms and values. In particular, this book is interested in how forms of metal might work to re-imagine masculinity, race, nation and class in an intersectional way through the myth of warrior masculinity and blood and soil. This monograph explores the history of the myths, and the reaction by fans to the music. The focus is extended to bands that use the warrior-nation myth in places and countries beyond the global North, and in ways that challenge or subvert hegemony.

2026 PROSE Award Finalist in Music & The Performing ArtsThis book explores gender-based violence within the music industry, and how women who have experienced violence represent it in their music. Using the key case studies of music by Kesha, Lingua Ignota, and Alice Glass, as well as many other examples from across the musical landscape, the book examines how the artists represent their experiences of gender-based violence in their music, lyrics, and music videos; how they narrate and describe their experiences; how they incorporate these experiences into their public personas; and how the music industry itself might be facilitating or perpetuating the violence.The analysis sheds light on how survivors construct their experiences, and how the songs and videos inscribe new understandings of gender-based violence. The book argues that men’s control of women’s creativity can be considered a form of musical abuse, and that through its structures and systems the music industry itself can be classed as inherently abusive. And yet, women musicians can sing back to the violence they’ve experienced and create powerful new representations that have the potential to change the way we listen to music, if we are prepared to develop our feminist ears.

This book explores gender-based violence within the music industry, and how women who have experienced violence represent it in their music. Using the key case studies of music by Kesha, Lingua Ignota, and Alice Glass, as well as many other examples from across the musical landscape, the book examines how the artists represent their experiences of gender-based violence in their music, lyrics, and music videos; how they narrate and describe their experiences; how they incorporate these experiences into their public personas; and how the music industry itself might be facilitating or perpetuating the violence. The analysis sheds light on how survivors construct their experiences, and how the songs and videos inscribe new understandings of gender-based violence. The book argues that men''s control of women''s creativity can be considered a form of musical abuse, and that through its structures and systems the music industry itself can be classed as inherently abusive. And yet, women musicians can sing back to the violence they''ve experienced and create powerful new representations that have the potential to change the way we listen to music, if we are prepared to develop our feminist ears.

This book explores gender-based violence within the music industry, and how women who have experienced violence represent it in their music. Using the key case studies of music by Kesha, Lingua Ignota, and Alice Glass, as well as many other examples from across the musical landscape, the book examines how the artists represent their experiences of gender-based violence in their music, lyrics, and music videos; how they narrate and describe their experiences; how they incorporate these experiences into their public personas; and how the music industry itself might be facilitating or perpetuating the violence. The analysis sheds light on how survivors construct their experiences, and how the songs and videos inscribe new understandings of gender-based violence. The book argues that men''s control of women''s creativity can be considered a form of musical abuse, and that through its structures and systems the music industry itself can be classed as inherently abusive. And yet, women musicians can sing back to the violence they''ve experienced and create powerful new representations that have the potential to change the way we listen to music, if we are prepared to develop our feminist ears.