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Dis-ruptions: Heavy Metal Appropriations of Disability in Media

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Dis-ruptions: Heavy Metal Appropriations of Disability in Media
Intellect , 95 (2024); https://doi.org/10.1386/9781789389456_9
/content/books/9781789389456.c07
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References

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  9. Clifford-Napoleone, A. (2015), Queerness in Heavy Metal Music: Metal Bent, New York: Routledge.
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  10. Covach, J. and Flory, A. ([2006] 2015), What’s That Sound? An Introduction to Rock and Its History, New York: W. W. Norton and Company.
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  12. Dias, S. and Chadwick, P. (2021), ‘Freak shows in the United States (1840–1940)’, Disability Social History Project, http://www.disabilityhistory.org/freak1.html.
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  16. Kidd, D. (2018), Social Media Freaks, Digital Identity in the Network Society, New York: Routledge.
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  34. Vasan, S. (2010), ‘“Den mothers” and “band whores”: Gender, sex and power in the death metal scene’, in R. L. Hill and K. Spracklen (eds), Heavy Fundamentalisms: Music, Metal and Politics, Oxford: Inter-Disciplinary Press, pp. 69–77.
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  35. Walser, R. (1993), Running with the Devil: Power, Gender, and Madness in Heavy Metal Music, Middletown: Wesleyan Press.
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  36. Williams, J. (2017), Media, Performative Identity, and the New American Freak Show, Cham: Palgrave Macmillan.
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  37. Young, S. (2012). ‘We’re not here for your inspiration’, ABC Australia, http://www.abc.net.au/news/2012-07-03/young-inspiration-porn/4107006.

References

  1. AC (1999), It Just Gets Worse, UK: Earache.
     [Google Scholar]
  2. Adams, R. (2001), Sideshow U.S.A.: Freaks and the American Cultural Imagination, Chicago: University of Chicago Press.
     [Google Scholar]
  3. Adorno, T. W. ([1938–40] 1994), ‘Analytical study of the NBC Music Appreciation Hour’, Musical Quarterly, 78:2, pp. 325–77.
     [Google Scholar]
  4. Apolloni, A. (2014), ‘Starstruck: On Gaga, voice, and disability’, in M. Iddon and M. L. Marshall (eds), Lady Gaga and Popular Music, New York: Routledge, pp. 190–208.111
     [Google Scholar]
  5. Barron, L. (2011), ‘Dworkin’s nightmare: Porngrind as the sound of feminist fears’, Popular Music History, 6.1/6.2, pp. 68–84.
     [Google Scholar]
  6. Beller, L. (2020), ‘Inspiration porn: How “feel-good” imagery demeans the disabled community and perpetuates harmful stereotypes’, Medium, https://medium.com/age-of-awareness/inspiration-porn-c08b419d35c9.
  7. Brackett, D. (ed.) ([2005] 2020), The Pop, Rock, and Soul Reader, New York: Oxford University Press.
     [Google Scholar]
  8. Cheng, W. (2017), ‘Staging overcoming: Narratives of disability and meritocracy in reality singing competitions’, Journal of the Society for American Music, 11:2, pp. 184–14.
     [Google Scholar]
  9. Clifford-Napoleone, A. (2015), Queerness in Heavy Metal Music: Metal Bent, New York: Routledge.
     [Google Scholar]
  10. Covach, J. and Flory, A. ([2006] 2015), What’s That Sound? An Introduction to Rock and Its History, New York: W. W. Norton and Company.
     [Google Scholar]
  11. Dawes, L. (2012), What Are You Doing Here? A Black Woman’s Life and Liberation in Heavy Metal, New York: Bazillion Points.
     [Google Scholar]
  12. Dias, S. and Chadwick, P. (2021), ‘Freak shows in the United States (1840–1940)’, Disability Social History Project, http://www.disabilityhistory.org/freak1.html.
  13. Foucault, M. (1965), Madness and Civilization: A History of Insanity in the Age of Reason (trans. R. Howard), New York: Vintage.
     [Google Scholar]
  14. Foucault, M. (2002), The Order of Things: An Archaeology of the Human Sciences, New York: Routledge.
     [Google Scholar]
  15. Iverson, J. (2012), ‘Review of Extraordinary Measures: Disability in Music, by J. N. Straus and Music, Disability, and Society, by A. Lubet’, Journal of the American Musicological Society, 65:2, pp. 611–21.
     [Google Scholar]
  16. Kidd, D. (2018), Social Media Freaks, Digital Identity in the Network Society, New York: Routledge.
     [Google Scholar]
  17. Lady Gaga (2008), The Fame, USA: Streamline, Interscope, Konlive, and Cherrytre.
  18. Leppert, R. (ed.) (2002), Essays on Music: Theodor W. Adorno, Berkeley: University of California Press.
     [Google Scholar]
  19. Marilyn Manson (1996), Antichrist Superstar, USA: Nothing and Interscope.
  20. Metallica (1988), …And Justice for All, USA: Elektra.
  21. Mitchell, D. T. and Snyder, S. L. (2000), Narrative Prosthesis: Disability and the Dependencies of Discourse, Ann Arbor: University of Michigan Press.
     [Google Scholar]
  22. Pantera (1990), Cowboys from Hell, USA: Atco.
  23. Pantera (1994), Far Beyond Driven, USA: Eastwest Records America.
  24. Pillsbury, G. (2006), Damage Incorporated: Metallica and the Production of Musical Identity, New York: Routledge.
     [Google Scholar]
  25. PitomaKurva (2007), ‘Tard – Gunt Hunter’, YouTube, 17 August, https://www.youtube.com/watch?v=WYc3RNJhYfc.
  26. Purcell, N. J. (2003), Death Metal Music: The Passion and Politics of a Subculture, Jefferson: McFarland & Company.112
     [Google Scholar]
  27. Reddit, deleted username (2012), comment, 13 August, https://www.reddit.com/r/pics/comments/y6byk/this_is_what_happen_in_metal_shows_sometimes_some/.
  28. Rousso, H. (2013), Don’t Call Me Inspirational: A Disabled Feminist Talks Back, Philadelphia: Temple University Press.
     [Google Scholar]
  29. Shadrack, J. (2021), Black Metal, Trauma, Subjectivity and Sound: Screaming the Abyss, Bingley: Emerald Publishing.
     [Google Scholar]
  30. Smialek, E. (2015), ‘Genre and expression in extreme metal music, ca. 1990–2015’, Ph.D. thesis, Montreal: McGill University.
  31. Smialek, E. (2016), ‘The unforgiven: A reception study of Metallica fans and “sell-out” accusations’, in A. R. Brown , K. Spracklen , K. Kahn-Harris , and N. W. R. Scott (eds), Global Metal Music and Culture: Current Directions in Metal Studies, New York: Routledge, pp. 106–24.
     [Google Scholar]
  32. Tard (2007), …As in ‘Re’, independent release.
  33. Trumbo, D. ([1939] 1970), Johnny Got His Gun, New York: L. Stuart.
     [Google Scholar]
  34. Vasan, S. (2010), ‘“Den mothers” and “band whores”: Gender, sex and power in the death metal scene’, in R. L. Hill and K. Spracklen (eds), Heavy Fundamentalisms: Music, Metal and Politics, Oxford: Inter-Disciplinary Press, pp. 69–77.
     [Google Scholar]
  35. Walser, R. (1993), Running with the Devil: Power, Gender, and Madness in Heavy Metal Music, Middletown: Wesleyan Press.
     [Google Scholar]
  36. Williams, J. (2017), Media, Performative Identity, and the New American Freak Show, Cham: Palgrave Macmillan.
     [Google Scholar]
  37. Young, S. (2012). ‘We’re not here for your inspiration’, ABC Australia, http://www.abc.net.au/news/2012-07-03/young-inspiration-porn/4107006.

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