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This book explores how women who have experienced gender-based violence within the music industry represent this violence through their creative outputs. Through three case studies - Kesha, Lingua Ignota, and Alice Glass - it examines how the artists'' experiences of this violence is represented in their music, lyrics, and visual accompaniments; how they narrate and talk about what happened, incorporating the experiences and their responses into their public persona; and what it is about the music industry itself that might facilitate or enable such experiences, or perpetuate the abuse. The analysis in the book provides insight into how survivors construct their experiences. Beyond this, the works of these artists are themselves cultural artefacts working to (re)inscribe understandings of gender-based violence. They therefore hold further significance as products that shape how other survivors (and the broader community) understand such violence. The book reveals how these women view the role of the industry in relation to gender-based violence. The genre location and subject position of each artist shapes the extent to which they can articulate the industry as central to their abuse, and a type of abuser in its own right, and how they see resistance and positive change as possible.>
About the author
Rosemary Lucy Hill is an independent scholar, formerly of the University of Huddersfield, UK. She is the author of Gender, Metal and the Media: Women Fans and the Gendered Experience of Music (2016) and many articles about feminism, music and big data. She is the co-series editor of Advances in Metal Music and Culture. She is the lead vocalist in a feminist folk metal band and currently writing her first novel.Bianca Fileborn is an Associate Professor in Criminology, School of Social and Political Sciences at the University of Melbourne, Australia. Their work is broadly concerned with interrogating the intersections of identity, space, place, culture and experiences of violence and justice. They are the author of Reclaiming the Night-Time Economy: Unwanted Sexual Attention in Pubs and Clubs (2016) and co-editor of #MeToo and the Politics of Social Change (2019).Catherine Strong is an Associate Professor in the Music Industry program at RMIT in Melbourne, Australia. Among her publications are Grunge: Music and Memory (2011), Music City Melbourne (2022), and Towards Gender Equality in the Music Industry (2021, edited with Sarah Raine). Her research deals with various aspects of memory, nostalgia and gender in rock music, popular culture and the media. She is co-editor of Popular Music History journal and an associate editor for DIY, Alternative Cultures and Society journal.
