Lilen's Exegesis

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Soul Invaders:

An Exploration of Heavy Metal Culture

in Contemporary Newcastle and Sydney

Lilen Pautasso

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Bachelor of Communication (Honours)

The University of Newcastle

October 2010


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DECLARATIONS

I certify that the content of this research project and accompanying exegesis has not

been submitted for a degree to any other university or educational institution. I certify

that all sources of information used, the work of others utilised for the project and any

assistance in the preparation of the exegesis has been acknowledged.


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have happened! Thank you for dealing with all those technical issues and dedicating

your time to making everything work.

Thanks must also go to all the lovely staff at 2NUR FM Radio who gave me such a

fantastic opportunity to improve my skills as a radio journalist. Special thanks to

General Manager Wayne Stamm and News Director Ian Crouch whose patience and

guidance over the past year has transformed me into a better and more confident

journalist.

Special thanks must go to my family and friends who helped me out on so many

occasions. Whether it was by helping me in the making of the series or offering words

of encouragement, I dont think I would have ever reached the finish line without you

all. A huge, huge thank you to Bradley Smith who, on numerous occasions, saved me

from utter despair! The importance of your support is immeasurable. I cannot fathom

how I would have made it through this year without you and I thank you endlessly.

And finally, a huge thanks to my fun and fantastic supervisor, Paul Scott. Thank you

Paul for encouraging me with my academic aspirations and for believing that heavy

metal music is actually worth researching. Thank you for making our meetings so

much fun and for enjoying the journey with me. Hopefully I have awoken a personal

interest in heavy metal you never thought you had! You have been such an important

part of, not only my Honours year, but all the years I have spent studying at university

and I am honoured to have shared another fantastic year with you.


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TABLE OF CONTENTS

Declarations .............................................................................................................. ii

Acknowledgements .................................................................................................. iii

Table of Contents ...................................................................................................... v

Abstract................................................................................................................... vii

Introduction............................................................................................................... 1

Literature Review...................................................................................................... 5

Methodology............................................................................................................. 9

Ontological and Epistemological Perspectives ............................................... 9

Practitioner Based Enquiry........................................................................... 11

Discourse Analysis ...................................................................................... 13

Soul Invaders: About the Series ............................................................................ 15

Exegesis Investigation: Musical, Material and Social Representations of Metal ....... 16

Making the Series.................................................................................................... 31

Conceptualisation ........................................................................................ 31

Pre-Production............................................................................................. 33

Production ................................................................................................... 34

Post-Production ........................................................................................... 37

Presentation ................................................................................................. 38

Conclusion .............................................................................................................. 39

Bibliography ........................................................................................................... 42

Appendices.............................................................................................................. 45

1. List of Appendices ................................................................................. 45


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2. Soul Invaders Running Order ............................................................... 46

3. Soul Invaders Episode Plan Examples .................................................. 47

5. Research Journal Excerpts...................................................................... 51


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ABSTRACT

This Honours project is a creative exploration of the heavy metal culture and its

existence in contemporary Newcastle and Sydney. As a culture that revolves around

discourses, metaphors and symbolic representation of power and intensity, heavy

metal culture has become one of the most popular forms of modern music both, in

Australia and overseas. Through the implementation of a Practitioner Based Enquiry

(PBE), discursive analysis and qualitative methods such as in-depth interviews, this

research aimed to examine the various themes, discourses and concepts in the culture

in the form of a six-part radio documentary series.

In creating the radio series, the stages of conceptualisation, pre-production,

production, post-production and presentation were undertaken. Each of these stages

presented themselves as research, the formulation of ideas, reviews of the literature,

learning the technical aspects of radio production, interviewing, recording, editing and

mixing the series for final presentation to heavy metal radio show Intensity on 2NUR

FM Newcastle.


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INTRODUCTION

Music has long been considered an integral part of both personal and social life. With

its combined symbolic and emotional powers, music has assumed an iconic status

within many worldwide cultures. El-Sharouni (2008: 64) sees the multi-dimensional

receptions of music as a curiously subtle art with innumerable varying emotional

connotationsit can be soothing or invigorating, ennobling or vulgarising,

philosophical or orgiastic. Research into the symbolic and social potency of music

(Bryson 1996; Dunn 2005; Walser 1993; Weinstein 1991) highlights how the art form

has the ability to resonate amongst individuals, groups and nations, acting as a force

in the formation of identity as well as social cohesion and social dislocation.

As a dynamic element of culture, music has diversified into a number of variant styles

or genres that share numerous identifiable characteristics. However, despite some

similarities it is possible for these characteristics to intersect and therefore blur the

boundaries of being always uniquely recognisable though formulaic and specific

attributes. Characterised by a sonic identity whose component parts can include

amplified distortion, emphatic drum beats, virtuosic guitar solos and ear-splitting

volume (Gross 2004; Straw 1983; Walser 1993; Weinstein 1991), heavy metal is a

genre most often engineered to evoke a sense of power and intensity. It achieves this

evocation through a canon whose wide repertoire may embrace blast beating and

guttural vocals declaring a desire for death and destruction, through to acoustic

ballads seeking the attention of the opposite sex.

Spawning from psychedelic rock, blues and hardcore punk, Straw (1983: 97) views

heavy metal music as representing a return to the gritty aesthetics of rock n roll


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while at the same time retaining from psychedelia an emphasis on technological skill

and instrumental virtuosity. These musical attributes have therefore become pivotal

to the overall sonic identity of heavy metal and therefore contributed to its

proliferation across continents and different cultures.

Its not just sonic identity and the associated sounds that are the unique signifiers for

heavy metal. Walser (1993:1) asserts that heavy metal is largely shaped by the

circulation of images, qualities and metaphors which is now intricately linked with

the concepts, discourses and musical structures imperative to its identity. As a genre

underpinned by connotations of power and intensity, heavy metal revolves around a

number of thematic and discursive features that numerous academic authors (Dunn &

McFayden 2007; Kahn-Harris 2007; Phillipov 2005; Walser 1993; Weinstein 1991)

believe are essential to the way heavy metal is understood and perceived by both

followers of the genre and outside critics.

The origins of heavy metal continue to be strongly contested. Historically, the genre

erupted from the wider cultural complex of rock music, which in turn had grown out

of the blues and rock n roll of the 1950s (Bennett 2001; Walser 1993; Weinstein

1991). Further influenced by the popularisation of progressive rock and psychedelia,

heavy metal began to establish its own stylistic identity in the late 1960s as a harder

sort of rock (Walser, 1993: 3). As numerous academic authors (Bennett 2001, Dunn

2005, Walser 1993, Weinstein 1991) concur, heavy metal was largely shaped by

English band Black Sabbath, whose emphasis on dissonant sounds, imagery and

subject matter made them a prototype for the heavy metal culture (Walser 1993).


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In Australia, the introduction of heavy metal was undoubtedly influenced by the

edgier sounds ofBlack Sabbath and other bands that preceded them (Simon 2001).

However, the emergence of the Australian heavy metal scene is largely attributed to

the pub-rock scenes that erupted in capital cities across the country during the 1970s.

Built around a heavier, faster and more guitar-driven sound, the music performed by

pub rock bands such asAC/DCandRose Tattoo contained many of the basic elements

that are essential to the contemporary heavy metal sound. The distinct similarities

between pub-rock and heavy metal combined with the influences of international

metal artists such as Black Sabbath therefore spearheaded Australias own heavy

metal scene through bands such asBuffalo, Sadistik Exekution, Mortal Sin, Alchemist,

Slaughter LordandDungeon.

Because of the complex and multi-faceted nature of heavy metal, this exegesis will

seek to answer the question: how do the musical, material and social aspects of heavy

metal shape its representation? Through a combination of an analysis of information

obtained from participants in the accompanying radio series and a review of literature

available on heavy metal, I will illuminate how heavy metal is shaped by its musical,

material and social aspects that ultimately contribute to its representation.

The first section of this exegesis will discuss the available literature on the topic of

both, heavy metal and radio production. It highlights the literature used in the

production of the final artefact and accompanying exegesis. The review of the

literature about heavy metal reveals common codes that are shared trans-nationally

and through the different branches of the heavy metal genre. While, the review of the

literature on radio production highlights the qualities of the medium and why it was

chosen.


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Section two will reveal the methodological approach to a creative project that utilises

an exegesis to explore, analyse and reflect upon the topic and its investigation.

The third section of the exegesis will discuss the six episodes in the radio series and

examine how and why each episode embraced the investigation of a particular

thematic and discursive approach that underpins a manner in which heavy metal is

represented.

Section five will reflect upon the stages of the project. It will do this by analysing the

conceptualisation, pre-production, production, post-production and presentation

stages of the creative project.

The final section of the exegesis will present a conclusion. Here I will summarise

what the project found and what opportunities may be further examined in terms of

the opportunity for further research.


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LITERATURE REVIEW

The research conducted for the both the radio series and accompanying exegesis has

been in three main areas: heavy metal music and culture, radio journalism and social

research methods. Research gathered from each of these areas allowed me to put

together the information published in the radio series and will also be used to address

the exegesis question.

Research into heavy metal culture is distinctively fragmented into a variety of

different areas. The majority of available literature on heavy metal (Bennett 2001;

Dunn 2005; Dunn & MacFayden 2007; Kahn-Harris 2007; Moynihan & Soderlind

2003; Phillipov 2003, 2005, 2008; Straw 1983; Waksman 2004; Walser 1993;

Weinstein 1991) has focussed specifically on certain themes, concepts and discourses

prolific within many heavy metal cultures worldwide. Other research (Berlant 1997;

Binder 1993; Dunn 2005; El-Sharouni 2008; Gore 1987; Kahn-Harris 2007; Kylpchak

2007; Walser 1993; Weinstein 1991) has also investigated notions of censorship,

social exclusion, moral panics and the presumed causal effects of heavy metal music

on its predominately youth audience.

One of the most significant and equally extensive studies on the topic of heavy metal

culture was written by Professor and Chair of Musicology at the University of

California, Robert Walser. His book, Running with the Devil: Power, Gender and

Madness in Heavy Metal Music, is a highly-detailed ethnographic study of heavy

metal music and the various aspects resonating within the culture. Through a

scholarly analysis of the recurring themes, discourses and musical codes in the genre,

Walser attempts to alleviate frequent criticisms of the genre as monolithic and simple


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(Walser 1993). Similarly, Associate Lecturer at Londons Open University, Keith

Kahn-Harris has also used a sociological and anthropological framework to

investigate the extreme metal subculture (Kahn-Harris 2007). While there are very

clear and distinct similarities between the two publications, Kahn-Harriss work

focuses on a very significant movement in the heavy metal culture and analyses the

same major concepts explored by Walser as they occurred in extreme metal.

Together, Walser and Kahn-Harris use empirical research to investigate the recurring

themes, musical structures and discourses that have shaped the heavy metal culture.

By analysing metal cultures in Europe, the Americas and the United Kingdom, both

authors highlight the extent to which the heavy metal is defined and interpreted by

fans, musicians and outside critics (Kahn-Harris 2007; Walser 1993). The work

presented by each author was significantly influential in the radio series I presented as

part of my creative project requirements. While the work of other notable authors

were extensively utilised, Walser (1993) presented the most comprehensive study of

the culture, while Kahn-Harris (2007) focus on extreme metal was highly suitable

to the specific topic areas chosen for investigation in the series.

While Kahn-Harris (2007) and Walser (1993) extensively analyse most of the major

aspects that occur within heavy metal, other literature has focussed on specific topic

areas. This includes topics related to excessive violence (Berger 1999;Binder 1993;

Dunn 2005; Gore 1987; Kahn-Harris 2007; Phillipov 2003, 2005; Trend 2007),

masculinity and gender theory (Walser 1993; Weinstein 1991), sexuality and

misogyny (Berlant 1997; Gore 1987; Kahn-Harris 2007; Phillipov 2003, 2005; Walser

1993; Weinstein 1991), musical structures and auditory codes (Berry & Gianni 2003;

Cherubim 2004; Walser 1993), class and race (Binder 1996; Bryson 1996) and lastly,


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occultism and anti-religion (Dunn 2005; Kahn-Harris 2007; Moynihan & Soderlind

2003; Walser 1993). This broad range of research has illuminated the major themes,

concepts and discursive features that have become pivotal in the overall identity of the

heavy metal culture.

However, despite the extensive research available on various aspects of heavy metal

culture, their largely international focus has meant that very little of this research has

been evaluated for validity in an Australian context. This information was therefore

used in the radio series to explore how similar themes and discursive features

manifested themselves in an Australian context, with a specific focus of the heavy

metal scenes existing in Newcastle and Sydney. Through a variety of semi-structured

interviews and an investigation into the literature that did exist about Australian heavy

metal culture, I was able to investigate these aspects and determine that their status in

Newcastle and Sydney was strongly evident. By exploring these features in the

chosen heavy metal scenes and combing existing literature with my own findings, I

attempted to address the gaps in the research and thus contribute to existing

knowledge about the heavy metal scene through my radio series.

Within the literature on radio broadcasting, the various qualities of radio are

highlighted. As Mitchell (2000: 51) articulates:

Radio is seductive. It strokes the senses [and] wraps itself aroundyouit is an intimate medium. One of radios great strengths is that

while its soundscape does not demand 100 per cent attention, itspictures may still enter the listeners consciousness.

Because of its linear format, radio production uses a combination of dialogue, music

and sound effects to maintain a listeners interest. As a linear form of communication,

the production of radio involves a number of stages conceptualisation, pre-


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production, production, post-production and presentation/broadcast (Alysen 2000).

Research into radio production (Ahern 2006; Alysen 2000; Beaman 2000; Chantler &

Stewart 2003; Mitchell 2000) has highlighted how the medium is perhaps the most

powerful in stimulating the imagination. As Powell expresses,

Radio is unique in engaging the imagination, permitting us to create

our own image in the minds eye [allowing] us to collaborate with the

medium as an active participant (1999 cited in Mitchell 2000: 55).

Furthermore, Chantler and Stewart (2003) emphasise that the use of sound whether

through sound effects, music or speaking is a uniquely powerful device because of

its ability to evoke emotion and imagery. Through a combination of the sonic

elements essential to radio production, a listener can experience the full emotions of

the human voice, the music and sounds which, together, can convey far more than

reported speech (Chantler & Stewart 2003). Because of the unique power of radio and

the qualities it exhumes, my radio series aimed to educate listeners about the

Australian heavy metal culture in, what I believe is, a much more engaging format.

As a musical genre, sound was pivotal to the communication of its variant themes,

musical structures and, most importantly, its power and intensity. As the research

highlights (Alysen 2000; Chantler & Stewart 2003; Mitchell 2000), the creative

powers of the imagination are strongly fulfilled in a radio format as its combination of

various sounds engage a listeners visual imagination more so than any other

medium (Mitchell 2000). Therefore, my series has aimed to utilise the creative

potential of radio by presenting the various aspects of heavy metal music through a

serialised approach to the radio documentary form.

Finally, the literature on methodology has also been an essential component of my

radio series and will be explored in the following section.


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METHODOLOGY

Research can be understood as a way of increasing our awareness and understanding

of the world through an interpretation of social phenomena. Because research intends

to contribute to existing knowledge through a detailed analysis of social and cultural

occurrences, researchers use suitable methodologies to ensure they obtain quality data

(Hesse-Biber & Leavy 2008). As Crotty (1998: 3) argues, a research methodology can

be understood as the strategy, plan of action, process or design lying behind the

choice and use of particular methods and linking the choiceto the desired outcome.

Therefore, as the research highlights (Bryman 2008; Crotty 1998; Hesse-Biber &

Leavy 2008; Priest 1996; Robson 2002), a methodology is therefore an important tool

of enquiry when examining social and cultural contexts.

Ontological and Epistemological Perspectives

Research paradigms are defined by three interconnected criteria: ontology,

epistemology and methodology (Guba and Lincoln, 1994 cited in Ruddock, 2001: 27).

As Ruddock (2001: 27) articulates, observationand interpretation [of social and

cultural phenomena] depend upon the understanding of the ontological and

epistemological nature of the work at hand. Therefore, as a researcher, I have

adopted a constructionist ontology and interpretivist epistemology as a way of

understanding the meanings, themes and concepts inherent in the heavy metal culture.

Bryman (2008) explains that a constructionist ontological view assumes the position

that social phenomena is both, constructed through social interaction and, is in a

constant state of revision. This is further defined by Crotty (1998: 42) as:


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The view that all knowledge, and therefore all meaningful reality assuchis constructed in and out of interaction between human beings

and their world, and developed and transmitted within an essentiallysocial context.

Like most aspects of our social world, heavy metal music and its culture is a product

of human construction. As such, it was through the imposition of a constructionist

ontological perspective, that this research was able to interpret the meanings inherent

in the heavy metal culture through a process of de-construction. As the radio series

has highlighted, this ontological perspective was used to highlight how heavy metal is

not just a form of entertainment, but rather a carefully constructed social world of

themes, concepts and social codes all of which contribute to its identity and how it

is interpreted in a social context (Bryman 2008; Crotty 1998; Walser 1993).

Furthermore, this research has also undertaken an interpretivist epistemological

position as a way of further de-constructing the codes and social constructions in the

heavy metal culture. This approach to social research is defined as an interpretation

of the social world as culturally derived and historically situated (Blaxter, Hughes &

Tight 2006). Consequently, an interpretivist stance believes that aspects of the social

world do not happen in a vacuum, but are instead products of a number of subjective

factors. As the research has highlighted (Blaxter, Hughes & Tight 2006; Crotty 1998;

Griffin 2000) interpretivist epistemological perspectives see texts as highly subjective

and thus highly interpretive, allowing individuals to interpret information differently

and allowing researchers to gain an objective reality of the text being analysed.

Therefore, by utilising this stance, the radio series has been able to analyse why

generalised fallacies about the genre have developed and why the culture spawns such

strong, and often highly juxtaposed, emotional responses in society.


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These ontological and epistemological perspectives can be seen through a Practitioner

Based Enquiry (PBE) methodology, which I have adopted in my research.

Practitioner Based Enquiry (PBE)

As the primary methodological framework, Practitioner Based Enquiry (PBE) can be

understood as a systematic form of enquiry that is collective, collaborative, self-

reflective, critical and undertaken by the participants of the enquiry (McCutcheon &

Jung, 1990: 148). Essentially, PBE involves the production of an artefact, a detailed

record of the production process via a journal and a final analysis of the data and the

artefact produced. By employing PBE as the primary methodology, the radio series

was able to concisely analyse the interpersonal conditions in the Australian heavy

metal scenes and the discourses, codes and social customs occurring within them.

Throughout the entire research process, I operated as a self-reflective practitioner in

order to collect and produce data for inclusion in the final artefact. As Murray and

Lawrence (2000: 27) explain, practitioner based enquiry is a reflective practice

which offers the chance of developing knowledge by adopting a critical and creative

approach that is then linked to practice. Hence, through constant interaction with

research subjects and by incorporating personal experiences into the research process,

my choice to use PBE as a primary methodology has allowed me to produce an

artefact that highlights the complex nature of the heavy metal culture in both, a

critical and creative way. Furthermore, as a self-reflective practice, PBE also involves

the recording of the production process of the creative artefact via a journal.

According to Murray and Lawrence (2000: 15):

The journal includes amongst its functions as evidence that theaccountable study has taken place. Similarly, the journal records the


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details of the process of problem formulation, derivation of aresearch methodologyand orderly reflection on the practice(s)

selected to be at the centre of PBE. [Furthermore] the journalproposes to offer the practitioners account as primary source

material that may later be included in the data analysis section of

more formal reports.

Therefore, as part of this study, a journal has been used to reflect upon the different

stages of the creative project. Because the journal is used as an orderly reflection of

the creative process (Murray & Lawrence 2000), it was my role as a researcher to

communicate my unconscious thoughts so they may be later analysed during the

analytical process.

As the research emphasises (Lees & Freshwater 2008; McCutcheon & Jung, 1990;

Murray & Lawrence 2000), the production of the final artefact is a direct reflection of

the PBE process. By assuming the role of a radio journalist I was able to combine

learning and practice to understand and therefore communicate the complexities of

the heavy metal culture in the form of a six-part radio documentary series. As Lees &

Freshwater (2008: xiii) highlight, PBE offers an alternative to conventional research

methodologies and, in doing so, contributes to the broadening of the epistemological

and ontological range of research.

Despite the self-reflective nature of PBE, some criticism has arisen regarding its

accuracy. As Lees and Freshwater (2008) articulate, the highly subjective nature of

PBE and the qualitative methods used to acquire valuable information can lead toward

a biased artefact. Because of the researchers emphasis on interpretive and subject

content via qualitative methods such as semi-structured interviews, the creative

project attempted to balance the collected data by measuring it with existing literature.

By seeking out interview subjects with varying opinions about certain aspects of the


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culture, the radio series was able to cover numerous areas of contestation. Similarly,

by measuring qualitative data alongside academic research, I was able to develop

greater insight into the topics being analysed and measure the content gathered from

interviews with available information. Through this process I was able to greater

inform my research which was later balanced against the qualitative data collected.

While my constructionist ontological position meant a greater chance of subjectivity, I

have actively attempted to combat this bias through consistent journal-keeping, a

review of the literature and a careful selection of interview subjects. Because my aim

was to learn how heavy metal is represented in an Australian context and whether the

dominant themes were mirrored in the heavy metal scenes existing in Newcastle and

Sydney, subjective data was imperative to the direction of the radio series and, as

such, makes PBE an appropriate methodology to adopt for this research

In conjunction with PBE, the research conducted for both the radio series and

exegesis also employed a discursive theoretical framework. This will be briefly

discussed in the following section.

Discourse Analysis

Jankowski and Jensen (1991) emphasise that a methodology cannot occur without

reference to a theoretical framework. Because of the discursive nature of heavy metal

culture, the framework underpinning this research will be discourse analysis.

Since it began to obtain its own stylistic identity, heavy metal has revolved around

numerous discursive components (Phillipov 2003, 2005; Walser 1993; Weinstein

1991). These discursive codes and structures can be communicated musically,


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visually, lyrically or physically, and have become intricately intertwined with

dominant representations and perceptions of the genre (Brown & Yule 1983; Gee

2005; Walser 1993). Discursive elements form a significant part of numerous cultures

and, in heavy metal, can be located in album artwork, live performances, band

nomenclature, lyrical content, clothing, personal appearance and certain musical

codes (Brown & Yule 1983; Gee 2005; Walser 1993; Weinstein 1991).

In order to contribute to ontological work about the heavy metal culture, this research

utilised a discursive analysis in order to uncover the variety of discursive formations

that have come to represent and shape heavy metal culture and the local scenes in

Newcastle and Sydney. As a theoretical framework underpinning PBE, discourse

analysis is concerned with studying real-world data that occurs within a number of

social and cultural contexts and the dynamic process in which language is used by

individuals to communicate intended meanings (Brown & Yule, 1983; Gee 2005;

Barker & Galasinski 2001). However, discourse analysis is not limited to what is

written and spoken; instead it can be used to interpret the ideological and semiotic

meanings communicated visually, musically and physically. Because heavy metal is

consistently reinforcing existing discursive formations they have contributed to its

representation, identification and continued existence. According to Mills (2004: 10)

discourse is not a disembodied collection of statements, but groupings or

utteranceswhich are enacted within a social context, which are determined by that

social context and which contribute to the way that social context continues its

existence. Hence, this theoretical framework has been adopted into this research as a

way to explore the extent to which discursive formations frame and influence the

culture and how relevant these discourses are in an Australian context.


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SOUL INVADERS: ABOUT THE SERIES

Presented as 15 minute episodes, my six-part radio documentary series explored a

number of different topic areas spanning the subgenres of metal, a history of the

genre, its sonic identity, the use violent themes in musical and lyrical content, the

representations of gender and, lastly, fandom and the cross-cultural lineage of metal

music. By focussing on these varying aspects, this radio series attempted to bridge the

gaps in research by presenting a detailed analysis of the various musical and social

aspects of the genre that shape its overall representation. This will be further explored

in the following section.


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EXEGESIS INVESTIGATION

How do the musical, material and social aspects of heavy metal shape

its representation?

As a musical genre, heavy metal embodies a diverse range of emotional, cultural and

symbolic meanings which have shaped its representation and identity. Because music

evokes sentimental experiences with an intensity and simplicity unique to its form, it

is unmatched by any other social activity1(Kahn-Harris 2007).

The debates surrounding heavy metal music in relation to its meaning, character,

values, themes and significance has marked the genre as an important site of cultural

contestation (Walser, 1993: x). The strong emotive power of heavy metal music has

the ability to evoke and intensify a range of feelings and thus becomes a tool for

fostering identity 2 (Bryson 1996; Gracyk 2007; Walser 1993). As a dynamic social

and cultural element, music has diversified into a number of variant styles or genres

that share numerous identifiable characteristics and, at the same time, maintain their

own specific attributes. Drawing from classical music, jazz, blues3 and rock n roll,

heavy metal has developed into its own unique style4, borrowing and blending

musical codes from its many predecessors.

Yet, while numerous academic authors (Bennett 2001; Dunn 2005; Kahn-Harris 2007;

Straw 1983; Walser 1993; Weinstein 1991) tend to label the 1960s as the decade

where heavy metal was first introduced into the wider complex of popular music,

1See episode six: 3 minutes, 31 seconds.

2

See episode one: 29 seconds3 See episode three for a closer investigation on how blues influenced heavy metal music.4

See episode three: 2 minutes, 5 seconds.


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the origins of the genre continues to be a hugely contested topic5. According to

Walser (1993: 3-4), from the time heavy metal was introduced, it became an open

site of contestation and, as it developed, became a term that is constantly debated

and contested6, primarily among fans but also in dialogue with musicians, commercial

marketing strategists, and outside critics and censors. But while debates continue

over what bands or songs can be labelled as true heavy metal, there are some that

have evaded contestation and have been given a somewhat iconic position in heavy

metal history (Dunn 2005; Walser 1993; Weinstein 1991).

Historically, heavy metal is largely indebted to some of the major rock n roll bands

of the late 1960s. According to some analysts (Bennett 2001; Bryson 1996; Dunn

2005; Straw 1983; Walser 1993; Weinstein 1991), heavy metal evokes visions of

Deep Purple and Led Zeppelin7, whose often unconventional style of music

contributed to the development of specific musical codes that have thus become

imperative to the sonic identity of heavy metal (Waksman 2009; Walser 1993).

Musically, Led Zeppelin placed a greater emphasis on speed and power through a

combination of emphatic drum beats, virtuosic guitar solos and wailing screams,

while lyrically, they added a mysteriousness to their music through evocations of the

occult and supernatural (Walser 1993). Similarly, Deep Purple was sonically

characterised by the iconic technical virtuosity of guitarist Richie Blackmore,

keyboardist Jon Lord and vocalist Ian Gillan a combination that would often result

in an aural wall of heavy sound (Waksman 2009; Walser 1993; Weinstein 1991).

5

See episode one: 3 mins, 44 seconds6 See episode one: 3 minutes, 50 seconds7

See episode one: 4 minutes, 2 seconds


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Drawing on the 1960 rock legends, heavy metal has been largely characterised by the

dissonant and edgier sound of English bandBlack Sabbath8. Along with the iconic

sonic qualities ofPurple andZeppelin,Black Sabbath developed a sound that would

define heavy metal: heavy drums and bass, virtuosic distorted guitar and a powerful

vocal style that used screamsas signs of transgression and transcendence (Walser,

1993: 9). Drawing onLed Zeppelins use of unusual rhythmic patterns, wailing vocals

and fascinations with occultist themes, as well asDeep Purples emphasis on auditory

layering and technical skill,Black Sabbath took the genre into darker avenues.

Through a combination of dissonant notes9, heavier riffs and the wailing vocals of

Ozzy Osbourne, Black Sabbath pioneered a sound that evoked overtones of gothic

horror and ominous pronouncements of gloom and doom10

(Simon 2001; Walser,

1993: 11). Lyrically, Black Sabbath placed greater emphasis on occultist themes,

while visually the band punctuated their performances with elaborate props and

accessories that were semiotically coded as anti-religious and non-conformist

(Dunn 2005; Waksman 2004; Walser 1993). It was through their intended emphasis

on unusual musical structures and codes, combined with the theatricality of their stage

shows that characterised the overall heavy metal genre and further contributed to its

social representation as a unique, unconventional and largely dissonant style of music.

Yet, while modern interpretations and understandings of heavy metal are largely

indebted to Sabbath and other 1960s rock legends, heavy metal is also grounded in

the African-American blues of the 1950s11

. As numerous academic authors (Bennett

8See episode one: 4 minutes, 19 seconds

9

Black Sabbaths use of dissonant notes and tones is explored further in episode three.10 See episode three (2 minutes, 46 seconds) to hear a sample of Black Sabbaths song Paranoid11

See episode three: 1 minute, 36 seconds.


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2001; Dunn 2005; Waksman 2009; Walser 1993) have emphasised, the influence of

blues rock is evident in the dominant musical codes that have become imperative to

the overall sonic representation of heavy metal. Walser (1993: 8-9), in particular,

stresses that elements of the blues are traceable in all areas of heavy metal:

To emphasize Black Sabbaths contribution of occult concerns to

rock is to forget Robert Johnsons struggles with the Devilto trace

heavy metal vocal style to Led Zeppelins Robert Plant is to forgetJames Browns Cold Sweat. To deify white rock guitarists like

Eric Clapton or Jimmy Page is to forget the black Americanmusicians they were trying to copy.

The debt of heavy metal to blues rock remains almost immeasurable, yet this debt has

been vital to the aural attributes of the genre that have shaped its representation.

Borrowing from blues12

an emphasis on instrumental virtuosity, heavy metal is now

largely characterised by impressive technical and rhetorical feats on the electric

guitar, counter-posed with an experience of power and control that is built up through

vocal extremes13, guitar power chords, distortion and sheer volume of bass and

drums14

(Walser, 1993: 108-9).

But while Black Sabbath and their earlier predecessors shaped dominant

understandings and representations of the genre, it wasnt until the 1980s that heavy

metal reached the apex of its popularity15 (Kahn-Harris 2007; Walser 1993). The so-

called British invasion of metal bands such as Iron Maiden, Motrhead, Judas

PriestandDef Leppardformed part of one of heavy metals most significant musical

movements the New Wave of British Heavy Metal (NWOBHM) (Dunn 2005;

Kahn-Harris 2007; Waksman 2009; Walser 1993; Weinstein 1991). But, while the

12See episode three: 2 minutes, 20 seconds.

13

See episode three for an example of vocal extremes (7 minutes, 49 seconds)14 See episode three for an example of heavy metal drumming (8 minutes, 29 seconds)15

See episode one: 4 mins, 45 seconds.


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NWOBHM contributed immensely to the heavy metal boom of the 1980s, it also

signified the start of the genres internal fragmentation (Kahn-Harris 2007; Walser

1993). As Kahn-Harris (2007: 2) explains:

This moment of coalescence in the early 1980s, in which many of

the most identifiable aspects of heavy metal came together, was also

the moment that began the process of the fragmentation of metal that

was to reach its apotheosis in the 1990s.

During this unique stage of fragmentation, heavy metal diversified into numerous

subgenres16. According to Walser (1993), as with any other form of popular culture,

heavy metal music has diversified into numerous genres each of which are

developed, sustained, and reformed by people, who bring a variety of histories and

interests to their encounters with generic texts (Walser, 1993: 27).

Like other branches of rock music, heavy metal is significantly shaped by the

fragmentation and hybridisation of its various musical subgenres. While the

NWOBHM bands shared a general heavy metal sensibility (Weinstein 1991), as well

as many of the easily identifiable musical characteristics of metal (Kahn-Harris 2007),

all of them tended to take elements of the heavy metal code and emphasize one or

more of these features to the exclusion or at least the diminution of other elements

(Weinstein, 1991: 44). By emphasising particular musical elements over others, the

NWOBHM bands began to develop specialised niches within heavy metal, while at

the same time contributing to the overall fragmentation of the genre. As a result,

heavy metal has diversified into more than 20 different subgenres of metal, each of

which share dominant musical characteristics and, at the same time, maintain a

16See episode two: 30 seconds


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particular relationship to that older, vaguer, more prestigious term heavy metal17

(Walser 1993: 13).

As was highlighted in episode two, bands belonging to subgenres such as traditional

heavy metal, power metal18 and progressive metal, usually feature fast tempo,

melodic harmonies and an emphasis on instrumental skill. However, it was the diverse

vocal range of their many vocalists that has significantly contributed to overall

representations of metal. Because heavy metal is understood as a highly technical

genre primarily through instrumental virtuosity as displayed on the drums, bass or

guitar, these unique and equally challenging vocal performances19 have also

contributed to dominant representations of heavy metal as sonically intense and

powerful (Dunn 2005; Phillipov 2005, Walser 1993). Two subgenres that contributed

to heavy metals iconic status in popular music, and expedited its progression into the

mainstream, were glam metal and thrash metal (Bryson 1996; Dunn 2005; Dunn &

McFayden 2007; Kahn-Harris 2007; Waksman 2009; Walser 1993; Weinstein 1991).

Glam metal20

, often also referred to as lite metal (Weinstein 1991), forged a

commercial future for the genre through bands such as Whitesnake,Mtley Cre and

Bon Jovi (Dunn 2005; Walser 1993; Weinstein 1991) by appearing on popular music

charts, receiving radio airplay and becoming the first heavy metal bands whose

videos appeared on MTV (Walser 1993). Their movement into the mainstream was

further enhanced by a more gender balanced audience21

, whose interest in the

17 See episode two: 1 minute, 16 seconds.18

See episode two: 10 minutes, 5 seconds.19

See episode two: 10 minutes, 25 seconds.20 See episode five: 10 minutes, 10 seconds.21

See episode five: 10 minutes, 23 seconds.


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subgenre contributed to their success22

. Through a combination of the fundamental

sonic qualities of heavy metal, a lyrical emphasis on romanticism, love and

heartbreak, and a visually alluring and attractive male vocalist23

, these mainstream

bands solidified their stance in the popular realm of musical taste. As Walser (1993:

14) highlights, these bandsshunned the broad popularity that they saw as

necessarily linked to musical vapidity and subcultural dispersion. But, while glam

metal assumed its popularity through its birth into the mainstream, heavy metal was

further popularised by the so-called fundamentalism of thrash metal24

(Kahn-Harris

2007: 2; Weinstein 1991: 48).

As numerous academic authors (Dunn 2005; Dunn & McFayden 2007; Kahn-Harris

2007; Walser 1993; Weinstein 1991) have identified, the thrash metal style25

(also

known as speed metal) coalesced in Los Angeles and the San Francisco Bay area

through bands such as Metallica, Testament, Anthrax, Exodus and Slayer26

.

Musically, each band represented a fundamentalist return to the standards to the

heavy metal culture (Weinstein, 1991: 48)27

. In this instance, because glam metal

had diversified into more commercialist avenues, thrash metal attempted to reinforce

the social representation of heavy metal as aggressive and powerful through musical

displays of intensity and a visual emphasis on masculinity and control. In

emphasising technical skill and musical transcendence, the genre developed to

become hugely popular, reaching its highest level of popularity through the big four

22See episode five: Men of Steel: Masculinity & the Gender shift in Heavy Metal

23 See episode five: 10 minutes, 20 seconds.24

See episode one: 6 minutes, 25 seconds.25

See episode two: 2 minutes, 40 seconds.26 To listen to a sample of SlayersAngel of Death see episode four (6 minutes, 5 seconds).27

See episode one: 6 minutes, 40 seconds.


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Metallica,Megadeth,Anthrax and Slayer28

(Dunn 2005; Kahn-Harris 2007; Walser

1993; Weinstein 1991).

Yet, while some subgenres have shaped the overall representation of heavy metal

through technical ability and skill, other subgenres have shaped these representations

through their intense desire to push the boundaries of controversy and extremity. By

purposefully betraying the musical, lyrical and even visual conventions at the core of

opposing subgenres, extreme subgenres such as black metal29

and death metal30

demonstrate a virulent desire to exceed any existing limitations. This desire to subvert

and transform traditional musical and lyrical structures has challenged dominant

representations of the genre as conventionally rigid and sonically monotonous (Kahn-

Harris 2007; Walser 1993; Weinstein 1991). As Kahn-Harris (2007: 6) explains:

In pushing conventional musical aesthetics to the point where music

collapses into what is conventionally classed as noise, extreme metal

challenges notions of what music [actually] is. Extreme metal

musicians have pioneered sounds that can be heard nowhere else and

developed new musical fusions that challenge accepted musical

boundaries31

.

These extreme subgenres were purposely engineered to communicate an almost

obsessive delight in exploring the body and the ways in which it can be mutilated or

destroyed32

(Phillipov 2005, 2008; Kahn-Harris 2007). Similarly, many extreme metal

bands (like the thrash bands before them) also communicated an interest in social

commentary, focussing on darker concepts related to war, murder, money and

death33 (Phillipov 2005, 2008; Kahn-Harris 2007). As Phillipov (2005) emphasises,

28See episode two: 3 minutes, 30 seconds.


30 See episode two: 7 minutes, 40 seconds.31

See episode four: 15 minutes, 16 seconds.32

This is briefly discussed in episode three (7 minutes, 40 seconds) but is extensively explored inepisode four (4 minutes, 8 seconds).33

See episode three: 13 minutes, 30 seconds.


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these lyrical elements, combined with musical compositions that betrayed the norms

and conventions34

of traditional metal, highlight the uniqueness of metal in its ability

to explore a wide range of themes, whether real or imagined.

As part of the wider complex of popular culture, heavy metal has also been able to

diversify on a global level35

(Kahn-Harris 2007). In Australia, heavy metal has its

roots in the 1970s pub-rock scene that emerged from hotel venues across the country36

(Dome 2008). Such venues, fostered a style of music that was later made famous by

Australias most successful pub-rock band AC/DC37. While not clearly considered

heavy metal, by either the band itself or heavy metal fans, bands such asAC/DCmade

good use of distortion, power chords and fast drum beats, while lyrically they

favoured crude double entendres that were either violent or strongly sexual (Dome &

Ewing 2008)38

.

While evidently influenced by the pub-rock scene of the 1970s, Australian heavy

metal has also been able to develop its own unique identity. Drawing on

environmental, social and cultural factors, Australian heavy metal has forged its own

identity and representation. As co-host of Newcastles only heavy metal radio show

Intensity, Byron Struck explains:

Weve got things that will kill you in the water, on the land, in the

skyits a pretty hostile environment and [that] lends itself a lot to

thatferal beastianity [sic] that a lot of Australian heavy metalbands exhibit39.


35 See episode six: 8 minutes.36

See episode one: 8 minutes, 5 seconds.37

See episode one: 8 minutes, 30 seconds.38 See episode one: 9 minutes, 1 second.39

See episode one: 11 minutes, 33 seconds.


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These environmental and social aspects have shaped representations of heavy metal in

Australia, allowing Australian heavy metal bands, such as those in Newcastle and

Sydney, to attain their own unique representation. Yet, while Australian heavy metal

is strongly influenced by environmental factors, it has also drawn on musical aspects

of the heavy metal scenes across the world.

Walser has argued that heavy metal is musically and discursively connected in such a

way that it produces a kind of cross-cultural dialogue40

(Walser, 1993: 33). He

states, that musical discourses constantly cross national boundaries and revise

cultural boundaries that have allowed heavy metal to attain a global footprint41

(Keith Kahn Harris, 2007: 30). Extreme metal, in particular, is strongly tied with

global musical practices, evidenced by the extensive list of extreme metal bands from

across the world. As Kahn-Harris (2007: 134) explains:

Whereas previously the global extreme metal scene had been

sustained by a few hundred people linking up isolated local

scenesmore people were now involved and there are increasing

numbers of bands, record companies, fanzines and distribution

services dedicated to the extreme metal plight.

Through the popularisation of extreme metal, heavy metal has also been able to

experience stylistic innovation. Demonstrated through the various subgenres

emerging from scenes across the world (e.g. Norwegian black metal, Swedish death

metal), the aural identity of heavy metal has been shaped by numerous musical codes,

making sound an essential part of the genres reception and representation. As

Walser (1993: 31) articulates, heavy metal songs, like all discourse, do have

meanings that can be discovered through analysis of their form and structure. By

40 See episode six: 10 minutes, 2 seconds.41

See episode six: 8 minutes


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analysing the musical components of heavy metal, the radio series was therefore able

to identify, explore and analyse a number of component elements that contribute to

the genres overall identity.

Sound has also been used to communicate intended messages and themes in extreme

metal subgenres such as black and death metal. Phillipov (2005: 80) states that death

metal, in particular, is a radical reorientation of conventional listening practices and

uses sonic elements to shape its own generic representation. Furthermore, Berger

(1999 cited in Phillipov, 2005: 80) states:

Rather than employing a clear harmonic progression towards

stabilisation and resolution, death metal music frequently fractures

the conventional harmonic vocabulary of popular song through theinsertion of unexpected half steps and tritons which disturb the

listeners sense of tonality42

.

In contrast to the standard verse-chorus-verse structures of conventional popular

music43, death metals use of unusual and dissonant44 (Cherubim 2004, Phillipov

2005, 2008) musical structures combine to reveal certain thematic concepts which, in

this particular subgenre, relate to violence, destruction and morbidity (Phillipov 2005,

2008; Kahn-Harris 2007; Walser 1993). Death metal, like other extreme subgenres, is

defined by its sheer intensity communicated (usually) by growled, guttural vocals, fast

and down-tuned guitars and extremely fast drumming45. For many who encounter it,

death metals fascination with darker themes combined with its betrayal of

conventional musical structures, provokes incomprehension, disgust and ridicule46

. As

Kahn-Harris (2007: 1) states:

42 See episode four: 2 minutes, 52 seconds.43

See episode four: 3 minutes, 24 seconds.44

See episode four: 3 minutes, 20 seconds.45 See episode four: 2 minutes, 42 seconds.46

See episode two: 7 minutes, 42 seconds.


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Metal divides people. The music boasts some of the most devotedmusic fans across the worldbut at the same time metal has always

attracted virulent and intense dislike, even hatred and fear. In the1980s, metal attracted condemnation from right and left and was the

subject of media and state-sponsored moral panics.

This quote highlights, because heavy metal music has often been portrayed as a

socially and spiritually subversive movement, it has often driven concern, moral

panics and various censorship hearings (Gross 2004). As a relatively controversial

genre (Dunn 2005; Dunn & McFayden 2007; Bennett 2001, Phillipov 2005;

Weinstein 1991), heavy metal has also been at the site of Congressional hearings led

by Tipper Gore, former wife of former Vice President Al Gore, and the Parents Music

Resource Centre (PMRC)47. In her fight against the excesses of rock48 music, Gore

(1987 cited in Berlant, 1997: 73) states:

In the hands of a few warped artists, their brand of rock music hasbecome a Trojan horse, rolling explicit sex and violence into our

homes.

It was because of heavy metals fascination with notions of violence, sex, substance

abuse, occultism and anti-religion that is has become a catalyst for the moral panics

surrounding musics potentially harmful effects on its listeners.

These hearings, and other censorship attempts, have also focussed their concerns on

the visual representation of inappropriate themes49

(Gore 1987). Heavy metal

paraphernalia such as album covers, magazines, band merchandise and photographs

reveal a visual language that carries with them connotations of power and authenticity

(Walser 1993). This visual side of metal is also communicated by the nomenclature50

utilised by heavy metal bands. Some bands align themselves with electrical power


48

See episode two: 8 minutes, 3 seconds.49 See episode two: 8 minutes, 3 seconds.50

See episode two: 9 minutes, 10 seconds.


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(AC/DC, Tesla), fear-evoking animals (Scorpions, Ratt), imperial or infamous

individuals (Bathory, Emperor) blasphemous or occultist themes (Judas Priest, Black

Sabbath) as well as notions of death and mutilation51

(Cannibal Corpse, Aborted)

(Dunn 2005; Walser 1993). Each of these symbolic representations are visually52

identified as belonging to a wider heavy metal community and revolve around

discursive constructions of power, authority and masculinity53

.

Through a combination of musical and social aspects, heavy metal music is built on a

predominately male discourse. Evident in all subgenres and in heavy metal scenes

worldwide (Weinstein 1991) is a constant reinforcement of gendered discourses that

circulate in the texts, sounds, images and practices of heavy metal54

(Dunn 2005;

Jarman-Ivens 2007; Kahn-Harris 2007; Walser 1993; Weinstein 1991). According to

Walser (1993: 110) metal is overwhelmingly concerned with presenting images and

confronting anxieties that have been traditionally understood as peculiar to men [and]

through musical means have been conventionally coded as masculine55.

But while heavy metal reinforces notions of masculinity in a musical, visual and

lyrical way, women were not completely absent. Because masculine discourses, like

other elements of social construction, do not exist in a vacuum they are always open

to negotiation and transformation (Jarman-Ivens 2007; Walser 1993). In the early

years of heavy metal, female participation was often circumscribed by a melange of


52 The ways in which heavy metal is represented in a visual way is extensively explored in episode five

(from 4 minutes, 45 seconds).53

See episode five: 30 seconds.54 See episode five: 1 minute, 16 seconds.55

See episode five: 1 minute, 6 seconds.


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rules and attitudes56

. Many heavy metal songs appear to reaffirm a masculine

dominance by marking women as a dangerous other57

and labelling their

contributions as diluting the validity of the genre and what it represents (Jarman-

Ivens 2007: 69). Yet, while the participation of women was limited and their

representation in heavy metal was as a potential threat or as sexual beings used to

satisfy the male gaze, their role has significantly changed (Jarman-Ivens 2007).

Women have assumed their own roles in the heavy metal culture and with it, a greater

sense of respect and appreciation58

.

But while heavy metal is a complex social construction filled with musical, visual and

lyrical meanings, it is much more than just musical entertainment. For fans59

of the

genre, heavy metal is a symbolic resource, evoking a sense of empowerment and

social inclusion (Bennett 2001; Walser 1993). Walser (1993: 16) has argued that

heavy metal history, its genre distinctions, sonic identity and the interpretations of its

texts and meanings; all depend upon the ways in which metal is used and made

meaningful by fans60

. Whether through clothing61

, personal appearance, attending

concerts, covering bedroom walls with posters or collecting metal paraphernalia and

merchandise, a fans public display of dedication for heavy metal represents a

symbolic way of expressing and negotiating with their symbolic reality; of giving

cultural meaning to their social plight (Jefferson 1976 cited in Bennett et al, 2004: 6).

As Shuker (2005: 98) further emphasises:

56See episode five: 14 minutes, 58 seconds.

57See episode five: 14 minutes, 48 seconds.

58 Episode five undertakes a more detailed investigation of masculinity and how it is represented in

heavy metal.59

See episode six: 1 minute, 2 seconds.60 See episode six: 1 minute, 50 seconds.61

See episode six: 6 minutes, 5 seconds.


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Fandom offers participants membership of a community not definedin traditional terms of status. By participating in fandom, fans

construct coherent identities for themselves [and] enter a domain ofcultural activity of their own making which is, potentially, a source

of empowerment in struggles against oppressive ideologies and the

unsatisfactory circumstances of everyday life.

As my radio series has explored, the themes, concepts, discourses that identify heavy

metal, as well as the fans that continue to ensure the survival and longevity of the

genre, have helped to shape how heavy metal is represented. As the following section

will highlight, in order to analyse each of the varying aspects of heavy metal, my

radio series underwent a number of different stages. These stages were imperative to

the smooth execution of my many ideas and will be discussed in detail below. The

following section will also include journal excerpts that help to demonstrate my role

as a self-reflective practitioner.


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MAKING THE SERIES

As a creative project, my six-part radio documentary series was created in a number

of different stages. The following section will reflect upon the stages of the project

and will do this by analysing the conceptualisation, pre-production, production, post-

production and presentation stages of the creative project. It will also include excerpts

from journal entries I kept during the creative process.

Conceptualisation

While the production of my radio documentary series was largely informed by

research into the production of radio content, I was aware that my ability to create a

documentary series suitable for radio needed to be informed by locating existing

series. Therefore, in attempting to learn what elements are necessary for serialised

radio documentaries I listened to a number of different programs that had been

designed in a similar way to what I was intending to produce with the most influential

being Swell Dreaming by Paul Scott. The reason I found this series most inspiring

was because it focussed on the cultural, social and personal significance of surfing in

Australia and, as such, I felt it resonated with my desire to explore. Similarly, it was

through an immersion in this series that I began to take notice of the various elements

crucial to the production of a radio series. Elements such as the structure, content,

interview length, narration, music and sound effects contributed immensely to my

overall reception of the topic area and allowed me to think about how I should

synthesise them into my own series. My journal article reflects this thought.

I just listened to Swell Dreaming and I cant believe how complex it

is! What I love about this series is how all these different sonic

elements work together the dialogue, interviews, music, soundeffects etc. I also feel like this series resonates with my topic. Like


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Robert Walser states, heavy metal is culturally and sociallysignificant and, like surfing, it has an iconic status in the lives of

many people.

(Creative Journal, 15 May, 2010).

It was during this stage that I also decided what topics I was going to cover

throughout my series. Through careful discussion with my supervisor I decided to

focus on a variety of areas, each designed in a way so that people who didnt know

about the culture could understand and thus become engaged with the series. I

reflected upon these decisions in my journal:

Before I even started thinking about what each episode in my radio

series would deal with I always knew that gender was a huge part of

heavy metal culture. The discourses of masculinity coupled withsongs that glorify instances of power and violence heavy metal has

forged a very masculine reputation.

(Creative Journal, 10 July, 2010).

TodayI did some reading about the heavy metal sound. A hugepart of heavy metals identity comes from the way it sounds remember that this is a musical genre!...even though I listen to heavy

metal every day I didnt realise how much of an amateur I was in

this regardit was a great realisation and one I hope to emulate

when I present my radio series to the community.


While this stage of the creative process allowed my to define the boundaries of what I

intended to focus on, it also allowed me to make changes and reconsider various

aspects that I initially believed were important.

Today I did a fair bit of research, but I feel like (already) Im going

to have to change a few things in my series! For starters I dont think

I am going to do a separate section on anti-religion and occultism in

heavy metal because, after much research, there really isnt abreeding ground for it in Australia.



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Pre-Production

Following the conceptualisation stage of the creative process, I went through a

process of learning about the software and equipment I would be using for my radio

series. Overall, I used Pro Tools to mix and edit content, a Sony Dictaphone to record

interviews and the recording equipment located at the University of Newcastle radio

studio to record telephone interviews.

As the research on radio production (Alysen 2000, Ahern 2006) has shown, radio

output is importantly made up of a combination of voices, sounds, music and

dialogue. In following these structural components, my radio series included a

selection of music and background sound which was obtained during this stage of

development. Because this series analyses both the Newcastle and Sydney scenes, this

stage of the process allowed me to organise and schedule interviews with potential

participants. Similarly, it was during this stage that my episode plans and scripts were

also taking shape. Following the advice of my supervisor I was able to design a

template for my episodes (see appendix 3) each of which detailed where I would be

using particular content. This was a crucial step in the pre-production stage of the

creative process and contributed immensely to the overall presentation of the radio

series.

Lastly, the pre-production stage was also an opportunity for me to assume the role of

a radio journalist by volunteering at 2NUR FM Newcastle. During my time at the

station I was able to experience, first-hand, the technical aspects of radio production

and how to use my voice. Similarly, my ability to write and produce was also

challenged when I was asked to present a radio story for consideration by German


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news organisation Deutsche Welle. As part of an application process for an internship

at the company, I wrote, produced and edited a story about the Newcastle Chamber

Choir. I reflected upon each of these challenging experiences in my journal:

While I have been working at 2NUR FM for almost a year now,

these past two months have been hugely beneficial, giving me so

much confidence that I will eventually use when it comes to writing

and recording my radio series.(Creative Journal, 7 July, 2010).

Things did not begin well. I started organising my audio, I had my

story all written but things began to get a bit hectic when the idea I

had in my head couldnt translate to the recorder!...surprisingly it

turned out really well and the story is on track.

(Creative Journal, 2 August, 2010).

After what was a particularly hard project, I finally finished my miniassignment and handed it to Paulthe experience was hard. I need

to learn how to use ProTools so Im not mixing and recording at thesame time!

(Creative Journal, 3 August, 2010).

As I immersed myself in the real-life experiences of radio, I was able to learn about

all of the various aspects that would form the basis of my radio series.

Production Stage

During the production stage of the radio series, I was able to uncover the important

features of the heavy metal culture, develop an understanding of the major themes and

conceptualise them for further study. Because my goal was to illuminate an under-

researched area of study, this stage of process involved the use of appropriate methods

and professional techniques to obtain data. During the conceptualisation stage, I

began to think about the different types of questions I wanted to ask my participants.

While I started this relatively early, my reflective journal highlights how it wasnt an

easy process and what I did to overcome these initial difficulties.


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Today I wrote more questions for my interviewees, although Imfeeling a little concerned that maybe my questions wont trigger the

responses Im looking for. So because of this little concern, I read afew interview transcripts online that would help me see what

questions journalists ask to get a particular response [and] it was

very helpful.(Creative Journal, 26 August, 2010).

All of the interviews included in my radio series were conducted either in

participants houses, at live events or in a social context. While only a few interviews

were conducted at live events, these interviews were used to convey the sound effects

and background noises so the listener could capture a sense of the heavy metal scene

in Sydney and Newcastle62

. The live narration piece in episode five, Men of Steel:

Masculinity and the Gender Shift in Metal, was used to convey the visual elements of

heavy metal, which is often very difficult to convey in a radio medium. This was

reflected upon in my journal:

Today I did a live narration piece for my radio series upon the advice

of my supervisor. Because radio obviously communicates musicaland sonic qualities in an unusually powerful way, what about thevisual aspects? How do I convey the visual elements of heavy metal

on radio? By describing what I saw at this gig, I think I was able to

truly convey the importance of visual codes and symbols in this

interesting culture. What a great learning experience!

(Creative Journal, 17 September, 2010).

The second stage of this process was writing and recording my narration pieces for

the series. Because this series targets an audience whose experience or knowledge of

Australian heavy metal culture may be limited, the writing style of the narrative script

and the communication of key terms and concepts needed to be clearly stated. While

this stage allowed me to improve my vocal projection, it was also an opportunity to

make some final amendments to the scripts being used for each episode. After

62See episode five live narration piece: 6 minutes, 49 seconds


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presenting some draft episodes to my supervisor, he suggested that I needed to

consider introducing myself in each episode as well as inform my audience about the

direction of the episode. However, after some discussion, I decided not to use these

documentary conventions because I wanted to allow listeners to use their imagination

and be guided through each of the themes via the music, sound effects and interview

dialogue rather than being told in a direct way. This was particularly important in

episode sixBlood Brothers. Because this was the concluding episode, I wanted it to

have a powerful ending and conclusion. As such, I really wanted listeners to engage

with this story by using their imaginations. The episode contains the line: we have

now reached a very important aspect, one that has and continues to have an

immeasurable power over the longevity of the genre63

which is then followed by the

sound of thousands of singing fans. This sonic cue was designed in a very obvious

way, so that a listener could identify that this episode was about fandom without

having to be told in a direct way. Because sound is such a unique and powerful way of

stimulating the imagination, I wanted to utilise the strengths of the medium in the

making of my own series.

Similarly, I decided not to introduce myself in the series so that I could, ideally, my

status as a heavy metal fan was not directly evident. Each of these decisions was

reflected upon in my journal:

I know Paul wants me to use these conventions but I really want to

appear as an investigative journalist, rather than a heavy metal fan

intending to impose her interests on othersI want to design this

radio series in such a way so that listeners could engage with thevarious topics at hand in an imaginative rather than direct wayI

want listeners to feel like it is more inclusive not just Im tellingyou what you should be thinking.


63See episode six: 50 seconds


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Similar to this decision, I also decided that I would not introduce all of my

participants before their quote. While this fractures the conventional radio

presentation style (Ahern 2006; Alysen 2000), my interest was to make the series

interesting and not always reliant on rules. Essentially, I wanted the listener not just to

be told who the speaker was, but rather encourage an interest so that, if the speaker

said something they considered to be interesting, they could continue listening in

order to find out who the speaker was. For me, this was another way of allowing the

listener to place their own imaginations into the piece.

Post-Production Stage

Because this series included a large amount of content, this phase of the project

involved the use of editing and mastering tools that formed the final product. Through

the use of Pro Tools and other editing software such as Dalet 5.164

, each interview

was significantly edited prior to its inclusion in the corresponding episode. During the

post-production stage I tried to position myself as a listener in an attempt predicate

whether I found the episode interesting and engaging. This was a very difficult stage

of the creative process because all of my episodes lasted for up to sixteen minutes and

I was very concerned that this length would put off a lot of listeners. After presenting

the final episodes to my supervisor, he was able to give me a clear idea as to whether

they were disinteresting and unnecessarily long. I reflected upon this meeting in my

journal:

Today I presented my final episodes to Paul.after listening to the

first episode there was a lot of criticism [with] me the most critical.

Because we listened to the first episode I ever made, I realised just

how much I could improve it especially because I have learnt somuch more about the process over the past few months. This was

only evidenced when we listened to the episode I had completely

64Dalet 5.1 was only used when editing telephone interviews.


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finished only the day before. When this episode was played, Paulsaid it was excellent. Its amazing just how much I have improved!


Presentation Stage

Upon the completion of this radio series, certain procedures were undertaken to make

the series available for listening purposes. This radio series was reproduced on a

compact disc (CD) and includes cover art and a booklet. The booklet contains the

names and titles of those involved in the series including all of the participating

interviewees and other contributors. It also includes a list of all the songs sampled in

the series. Because the songs used were not mentioned during the series, it will be an

opportunity for listeners to have all the information about the content of the series.

I also intend on offering a copy of the series to all of the participants involved and

anyone else who may be interested in listening. I will also attempt to make the series

available as a podcast.

Lastly, I am hopeful that the series will be regarded as suitable for broadcast on

Newcastle heavy metal radio show Intensity on 2NUR FM, Monday nights. I will

receive information on its suitability at the end of the month.


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CONCLUSION

This Honours project has allowed me to examine how musical, material and social

aspects have contributed to the overall representation of heavy metal culture. As my

radio series has explored, the themes, concepts, discourses that identify heavy metal,

as well as the fans that contribute to the survival and longevity of the genre, have

helped to shape how heavy metal is constructed and, therefore, represented.

In order to analyse each of the varying aspects of heavy metal, my radio series

underwent a number of different stages. These stages were imperative to ensure the

series communicated the musical, material and social aspects of heavy metal that have

shaped its representation, both internationally and in Newcastle and Sydney. During

the stages of conceptualisation, pre-production, production, post-production and

presentation, I was able to identify the major aspects I wanted to analyse. Similarly,

my methodological and theoretical frameworks allowed me to undertake a thorough

analysis of such a multi-faceted and deeply discursive style of music. By acting as a

self-reflective practitioner, I was able to alter the design of my radio series, develop

an understanding of the creative process I was undertaking and, most importantly,

reflect upon my ideas, thoughts and research.

As an under-researched area of study, my radio series explored and analysed various

aspects of the heavy metal culture and the extent to which the dominant themes,

codes, discourses and musical structures were evident in the Australian cities,

Newcastle and Sydney. Through a combination of research and participant interviews

the radio series was able to investigate the contemporary significance of heavy metal

in Australia and how the culture continues its existence in a country so distant from its


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birthplace. As Breen (1991: 194 cited in Bennett, 2001: 44) emphasises, the intense

popularity of heavy metal and the contemporary experience of the genre in an

Australian context, suggests that heavy metal is a potent and lively culture outside of

its dominant areas of origin.

Through my investigation I was able to demonstrate how the genre, whether in

Australia or overseas, is dependant upon various components for the formation of its

identity and representation. Heavy metal history, its genre distinctions, fans, sonic

identity and numerous discursive meanings have contributed to how heavy metal is

understood, interpreted and perceived by both fans, and individuals outside the

culture. While fans and lovers of the genre see heavy metal as ideologically and

conceptually rich (Kahn-Harris 2007: 2), other views of heavy metal have labelled

the genre as monolithic, brutishly simple and artistically monotonous (Walser

1993: 24). The often negative views of the genre have catapulted heavy metal into the

public view by such events as the formation of the Parents Music Resource Center

(PMRC) and the Congressional hearings on the content of rock music lyrics led by

Tipper Gore, the former wife of former Vice President Al Gore (Bennett 2001; Gore

1987; Dunn 2005; Walser 1993; Weinstein 1991).

Similarly, the ways in which heavy metal is perceived and interpreted is significantly

reliant on sound and musical subgenres. As a musical genre, heavy metal is

extensively shaped by sonic elements that have ignited intense fascination and

virulent dislike (Kahn-Harris 2007). Intent on communicating a sense of power,

control and intensity, heavy metal emphasises technical and instrumental skill, built

up through vocal extremes, virtuosic guitar and bass playing, as well as fast and often


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erratic drum beats. The sonic identity of heavy metal is essential in its representation

as both, a musical genre and cultural text.

But heavy metal is also reliant on other elements to correlate itself with concepts of

power and intensity. Lyrically, heavy metal can demonstrate an intense fascination

with darker and more unconventional themes, drawing on the supernatural and the

occultist, the horrors of war, mythological fantasy lands and, of course, grotesque and

explicitly vivid stories of death, murder and mutilation. Visually, heavy metal is built

around images that bear certain connotative and semiotic notions tied to fantasies of

masculine pride, control and imperialism.

But while the predominant conclusion of this Honours project has demonstrated that

the musical, material and social aspects of heavy metal are essential in the formation

of its identity and representation, it has also stimulated a desire for further research in

the area of discourse analysis and heavy metal culture. Further self-reflective

investigations into how the genre is represented by its discursive components would

assist in providing a greater understanding of such a complex and unique social

world. By further examining the musical, visual, lyrical and social aspects of the

genre, particularly in an Australian context, it will significantly contribute to existing

ontological understandings of the musical genre. Because Australian heavy metal has

been largely ignored on an academic level, extra investigation would help to

illuminate the complexities of the genre and, as such, demonstrate why this style of

music is vital in the lives of many Australian fans65

.

65 This is emphasised in episode six (12 minutes, 15 seconds) where Australian fans discuss the reasons

why they love heavy metal music.


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BIBLIOGRAPHY

Ahern, S. (2006).Making Radio: A Practical Guide to Working in Radio. Allen &

Unwin: Sydney

Alysen, B. (2000). The Electronic Reporter. Deakin University Press: Sydney.

Averwag, U. (2008).Reflecting on Practitioner-Based Enquiry Research (online PHDpaper submitted to the University of KwaZulu-Natal: South Africa). Available from:

http://www.saimas.org.za/Reflecting%20on%20Practitioner-

based%20inquiry%20research.pdf(Accessed 19 June, 2010).

Barker, C. & Galansinski, D. (2001). Cultural Studies a

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