Musical Scenes and Social Class: Debating Punk and Metal

Contents
Notes on Contributors
List of Figures
List of Tables
Chapter 1: Introduction: Social Class, Punk and Metal
	Defining Social Class
	Social Class, Punk and Metal
	Are Punk and Metal Really the Music of the Dominated or Marginalized?
	References
Part I: Class Domination and Class Agency
	Chapter 2: Resistance Through Music: Exploring the Role of Class Fraction Appropriations and Alliances in the Subcultural Formation of Heavy Metal, Classic, Post and Present
		Introduction
		‘The Fact of Class’: Putting Class Back into Subcultural Scene Studies
		The Importance of Music to the Meaning and Identity of Resistant Subcultures
		Fairies (Don’t) Wear (Bovver) Boots: Situating Sabbath in Subcultural Theory
		The Rise of the Skinheads: Exploring Popular Music and Subcultural Conflict
		Conclusion
		References
	Chapter 3: The Early Punk Scene in Brisbane, Australia, as a Site of Social and Postcolonial Rebellion
		Some Cultural History
		The Bjelke-Peterson State Government
			What Has this to Do with Punk?
		References
			Songs Cited
	Chapter 4: “Victory to the Miners!” Punk and the Miners’ Strike of 1984/85 in the UK
		Introduction
		Punk Support for the Miners’ Strike
		Punk’s Engagement with Politics
		Conclusion
		References
Part II: Subcultures, Sub-genres and Social Class
	Chapter 5: “Rotting in the Suburbs”: Voicing Working-Class Deprivation in 1970s Northern Ireland Punk Songs
		“Alternative Ulster”: Punk in Northern Ireland
		Realist Punk: “There’s Nothing for Us in Belfast”
		Pop Punk: “Teenage Kicks” for the Deprived
		Conclusion
		References
			Selective Discography
	Chapter 6: Working Class and Middle Class in the Age of Brexit: Social Commentary by Contemporary Post-punk Bands
		Introduction
		Rock Music, Subcultures and Social Classes
		The Contemporary Post-punk Scene in Britain
		“Dark Days”: Poverty and Bleakness in the Working Class
		“Post-Northern, Voyeuristic”: Levelling-up Versus Class Tourism
		Working Class, Middle Class and Masculinity
		“Model Village”: Middle-Class Idiosyncrasies and Middle England
		Conclusion
		Bibliography
			Discography
	Chapter 7: Mapping Social-Class Divisions within Metal: Global Material Conditions, Disciplinary Priorities, Subgeneric Trends, and Stylistic Analyses
		Geographical Differences in Class Relationships to Metal Music
		Academic Discipline and Class: The Hegemonic Demographics of Music Theory and Analysis
		Music Analyses of Class-Based Aesthetic Differences in Metal Subgenres
		Conclusion
		References
Part III: Evolving Audiences: Ageing, Gentrification, Feminization?
	Chapter 8: “‘We’re Dominated, So What’? We Don’t Give a F**K: Punk Stylistic Spaces, Social Classes and Political-Artistic Ageing”
		Methodology
		Sociological Portraits of Punks…
		A Politicized Practice
		From Predisposition to Disposition
		The Power of DIY for the Punk Band
		References
	Chapter 9: Sexual Violence in the Pit
		Introduction
		The Myth of Equality
		Going to Concerts Should Be Fun
		Methodology
		Sexual Violence Gets in the Way
		What Can We Do About It?
		Venue Training
		Safer Spaces Policies
		Bystander Intervention
		Conclusion
		References
	Chapter 10: Gentrifying Metal? The Evolving Gender and Social Class Characteristics of Metal Festival Audiences: A Statistical Study of the Hellfest Festival (France)
		Introduction: Gender and Social Class in Evolving French Metal Audiences
		The Choice of Hellfest and the History of Quantitative Surveys on the French Metal Scenes
		Our Quantitative Approach to Metal Audiences and Its Limitations
		Initial Survey Results
			Gender
				Average Age
				Socio-professional Categories
				Degree Level
				Most Represented Regions
				Discovery of the Hellfest Open Air Festival
			Most and Least Liked Metal Subgenres
		Evolution or Mutation
		Conclusion: Gentrifying Metal Audiences? An Agenda for Further Qualitative and Quantitative Studies
		References
	Chapter 11: Who Listens to “Metal for Girls”? Metal, Orchestra and Female Voices: Measuring the Reception of Symphonic Metal in France, Between Middle Class and Gender
		Introduction
		Methodology
		Results
			General
		Who Are the People Who Listen to Symphonic Metal?
			Symphonic Metal as the Favorite Subgenre
			People Who Like Symphonic Metal
		The Cultural Values of Symphonic Metal
			The “Big Three” of Symphonic Metal
			Specific Cultural Values, Beyond Gendered and Class Hierarchies
				The Stable Formal Rules of Symphonic Metal
				The Semiotic Rules of Symphonic Metal
		Conclusion
		References
Index