Catherine Hoad
Biographic Data
| ID | 2574086 |
|---|---|
| NAME | Catherine Hoad |
| GIVEN NAMES | Catherine |
| FAMILY NAME | Hoad |
| SIGNATURE | HOAD C |
| AFFILIATIONS | Massey University |
| ORCID | 0000-0001-7796-1051 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
A retrospective of Laina Dawes’s What Are You Doing Here? A Black Woman’s Life and Liberation in Heavy Metal
A retrospective of Laina Dawes’s What Are You Doing Here? A Black Woman’s Life and Liberation in Heavy Metal (2012)
The Cambridge Companion to Metal Music
Since its beginnings more than fifty years ago, metal music has grown in popularity worldwide, not only as a musical culture but increasingly as a recognised field of study. This Cambridge Companion reflects the maturing field of 'metal music studies' by introducing the music and its cultures, as well as recent research perspectives from disciplines ranging from musicology and music technology to religious studies, Classics, and Scandinavian and …
Scream for me, Africa
Review
Significantly Othered
In this article, I explore how nu metal was problematically situated as an “Other” in response to heavy metal’s supposed crisis of identity at the turn of the millennium. Using Limp Bizkit as a central case study, I consider how the fragmented state of metal and market growth of hip hop in the mid 1990s provided the preconditions for nu metal to flourish commercially; how Limp Bizkit were marketed in response to this growth; and finally, how thei…
Making metal work
This article explores lived experiences of heavy metal careers in Aotearoa/New Zealand as bands navigate shifting metal markets, and rapidly expanding digital landscapes for the music industry more generally. Drawing from interviews conducted with four established metal bands in Aotearoa—Blindfolded and Led to the Woods (Otautahi/Christchurch), Shepherds Reign (Tamaki Makaurau/Auckland), Stälker and Bulletbelt (both from Te Whanganui-a-Tara/Welli…
More than ‘clips of dead fish’
This article explores the use of music in service of anthropocentric discourses and practices. We analyse spearfishing music (music synchronised with amateur online videos of spearfishing) as it has emerged in Wellington, Aotearoa/New Zealand. Through textual analysis of the gendered codes present in 40 locally produced videos, we interrogate how such practices exacerbate inequalities already present in music conventions, thus conjoining localise…
Riot grrrl gaming
In this article, we provide a critical analysis of the mystery/adventure video game Gone Home to demonstrate how the game resists norms of contemporary gaming by drawing on a tradition of feminist action in cultural spaces. In interrogating the ways in which Gone Home invokes the aesthetics, identities, and political strategies of the 1990s riot grrrl scene, we argue that Gone Home, in its centring of women’s narratives, collective feminist agenc…
He can be whatever you want him to be
Using Swedish metal band Ghost as a primary case study, this article examines how anonymous bands mediate their identity through the use of masks. The isolation of the band members' 'real' identities from their musical performance complicates traditional modes of 'knowing' the performer, but in turn enables the formation of a multitude of connectivities, as audiences utilise masked bodies as sites upon which to project their desires and fantasies…
Ons is saam’ – Afrikaans metal and rebuilding whiteness in the Rainbow Nation
The South African general election of 1994 installed a democratic system of government in a nation that had ruptured by violent segregation since 1948. While the ‘miracle’ of the Rainbow Nation aimed for a unified state, the redistribution of power heralded by the rise of ‘new’ South Africa left much of the white Afrikaner population with a sense of loss. The task of the post-apartheid Afrikaner cultural industry is now concerned with finding a p…
Riot grrrl gaming
In this article, we provide a critical analysis of the mystery/adventure video game Gone Home to demonstrate how the game resists norms of contemporary gaming by drawing on a tradition of feminist action in cultural spaces. In interrogating the ways in which Gone Home invokes the aesthetics, identities, and political strategies of the 1990s riot grrrl scene, we argue that Gone Home, in its centring of women’s narratives, collective feminist agenc…
Ons is saam’ – Afrikaans metal and rebuilding whiteness in the Rainbow Nation
The South African general election of 1994 installed a democratic system of government in a nation that had ruptured by violent segregation since 1948. While the ‘miracle’ of the Rainbow Nation aimed for a unified state, the redistribution of power heralded by the rise of ‘new’ South Africa left much of the white Afrikaner population with a sense of loss. The task of the post-apartheid Afrikaner cultural industry is now concerned with finding a p…
He can be whatever you want him to be
Using Swedish metal band Ghost as a primary case study, this article examines how anonymous bands mediate their identity through the use of masks. The isolation of the band members' 'real' identities from their musical performance complicates traditional modes of 'knowing' the performer, but in turn enables the formation of a multitude of connectivities, as audiences utilise masked bodies as sites upon which to project their desires and fantasies…
Riot grrrl gaming
In this article, we provide a critical analysis of the mystery/adventure video game Gone Home to demonstrate how the game resists norms of contemporary gaming by drawing on a tradition of feminist action in cultural spaces. In interrogating the ways in which Gone Home invokes the aesthetics, identities, and political strategies of the 1990s riot grrrl scene, we argue that Gone Home, in its centring of women’s narratives, collective feminist agenc…
More than ‘clips of dead fish’
This article explores the use of music in service of anthropocentric discourses and practices. We analyse spearfishing music (music synchronised with amateur online videos of spearfishing) as it has emerged in Wellington, Aotearoa/New Zealand. Through textual analysis of the gendered codes present in 40 locally produced videos, we interrogate how such practices exacerbate inequalities already present in music conventions, thus conjoining localise…
The Cambridge Companion to Metal Music
Since its beginnings more than fifty years ago, metal music has grown in popularity worldwide, not only as a musical culture but increasingly as a recognised field of study. This Cambridge Companion reflects the maturing field of 'metal music studies' by introducing the music and its cultures, as well as recent research perspectives from disciplines ranging from musicology and music technology to religious studies, Classics, and Scandinavian and …
Scream for me, Africa
Review
Significantly Othered
In this article, I explore how nu metal was problematically situated as an “Other” in response to heavy metal’s supposed crisis of identity at the turn of the millennium. Using Limp Bizkit as a central case study, I consider how the fragmented state of metal and market growth of hip hop in the mid 1990s provided the preconditions for nu metal to flourish commercially; how Limp Bizkit were marketed in response to this growth; and finally, how thei…
Making metal work
This article explores lived experiences of heavy metal careers in Aotearoa/New Zealand as bands navigate shifting metal markets, and rapidly expanding digital landscapes for the music industry more generally. Drawing from interviews conducted with four established metal bands in Aotearoa—Blindfolded and Led to the Woods (Otautahi/Christchurch), Shepherds Reign (Tamaki Makaurau/Auckland), Stälker and Bulletbelt (both from Te Whanganui-a-Tara/Welli…
A retrospective of Laina Dawes’s What Are You Doing Here? A Black Woman’s Life and Liberation in Heavy Metal
A retrospective of Laina Dawes’s What Are You Doing Here? A Black Woman’s Life and Liberation in Heavy Metal (2012)
Political science (7 works) · Art (6 works) · Law (6 works) · Music History and Culture (6 works) · Sociology (6 works) · Aesthetics (4 works) · Gender Studies (4 works) · History (4 works) · Media studies (3 works) · Politics (3 works)