In 2018, in the wake of the #MeToo movement, metal scenes saw a similar dynamic emerge with the hashtags #MetalToo and #KillTheKing, proving that these spaces were not exempt from sexism nor homophobia. This prompted my interest in online communities founded by queer and feminist “metalheads.” Drawing on a questionnaire, observations of an online community, and the analysis of publications associated with these hashtags, in this article I demonstrate how these online spaces allow for the creation of virtual spaces where a musical activity develops at a distance and supports the development of a community based on codes of identity, culture, and aesthetics.
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