ORCID Profile
0000-0001-6787-9388
Current Organisation
University of South Australia
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Publisher: Informa UK Limited
Date: 17-06-2014
Publisher: Equinox Publishing
Date: 03-03-2016
Publisher: Informa UK Limited
Date: 11-01-2016
Publisher: Elsevier BV
Date: 07-2019
Publisher: SAGE Publications
Date: 02-2018
Abstract: This article compares two of the groups generally regarded by critics as the most important in Australia in the post-punk period, The Birthday Party and The Scientists. While they had much in common – each was governed by the vision of one man, Nick Cave for The Birthday Party and Kim Salmon for The Scientists, both had record deals in Australia and both went to London – The Birthday Party became a cult success while The Scientists are only now, 30 years after their heyday, receiving the popular credit due them as a foundational noise group. There were important differences between the groups. The Birthday Party came from Melbourne and their members were middle-class. The Scientists came from Perth, at that time a small city remote from the cultural centres of Australia, and Salmon and his associates were working-class. The Birthday Party was self-consciously in a High Art tradition of nihilism going back to Dada while The Scientists’ music was an existential critique of the values of the middle-class suburbia that dominated Perth.
Publisher: SAGE Publications
Date: 08-1985
DOI: 10.1177/144078338502100203
Abstract: This article sets out to distinguish two specific types of youth subculture. In the process I argue for the importance of examining the cultural context when discussing youth subcultures. Historically we can differentiate two lines of argument concerning youth subcultures, the delinquency model which is predominantly American and the Marxist structuralist and semiotic models which are British in origin. This article suggests that this difference reflects the development of spectacular youth subcultures in Britain and commodity oriented youth subcultures in America. The acknowledgement of cultural specificity will enable researchers in the area of youth culture to gain a perspective on the spread of youth subcultures from one society to another.
Publisher: SAGE Publications
Date: 09-1998
DOI: 10.1177/136754949800100301
Abstract: This article addresses the problem of the reasons for the absence of a Jewish voice in British cultural studies. It uses this problem as a way into the broader problem of the absence of a Jewish voice in post-Second World War discussions of 'race' and subalternarity. The article discusses how those identified as Jews were ambivalently constructed as both 'white' and 'Other', and as both members of the British state and as excluded from it. This is tracked in connection with cultural studies by way of the work of Matthew Arnold, T.S. Eliot and Raymond Williams. It is argued that the assimilationist bargain, rights in return for assimilation, coupled with the ambivalent status accorded Jews have made it difficult for Jews to speak out the way excluded groups such as blacks have done over the last few years.
Publisher: Informa UK Limited
Date: 2007
Publisher: SAGE Publications
Date: 08-2016
Abstract: This essay examines Perth as portrayed through the lyrics of popular songs written by people who grew up in the city. These lyrics tend to reproduce the dominant myths about the city: that it is isolated, that it is self-satisfied, that little happens there. Perth became the focus of song lyrics during the late 1970s time of punk with titles such as ‘Arsehole of the Universe’ and ‘Perth Is a Culture Shock’. Even the Eurogliders’ 1984 hit, ‘Heaven Must Be There’, is based on a rejection of life in Perth. However, Perth was also home to Dave Warner, whose songs in the 1970s and early 1980s offered vignettes, which is itself a title of one of Warner’s tracks, of the youthful, male suburban experience. The essay goes on to examine songs by the Triffids, Bob Evans, Sleepy Township and the Panda Band.
Publisher: Informa UK Limited
Date: 11-1988
Publisher: SAGE Publications
Date: 10-04-2023
DOI: 10.1177/07255136231165805
Abstract: The Easybeats’ 1960s career is viewed as being in two halves. In the first, they played pop songs composed by Stevie Wright and George Young. The group was incredibly successful in Australia spawning the term Easyfever to describe the adulation heaped on them by mainly teenage girls. In the second half, the group go to England and Young starts writing with Harry Vanda. The group had one huge international hit ‘Friday On My Mind’ and then their popularity declines as their audience loses interest in the group’s more complex music and seemingly sophisticated lyrics. In this article I argue that the earlier songs can be read in terms of power pop avant la lettre and that a continuity can be discerned between the earlier songs and certain key later songs as Vanda and Young begin to develop a harder melodic rock sound anchored in power pop aesthetics that will be the template for AC/DC, a group that included Young’s two younger brothers, and which helped define the generic form of Oz rock. I argue for the importance of Snowy Fleet’s Merseybeat experience in the creation of the early sound, analyse the group’s appeal for teenage girls and discuss the later song ‘Good Times’ as a melodic hard rock precursor of the kind of music played by AC/DC.
Publisher: Bloomsbury Publishing Inc
Date: 2022
Publisher: SAGE Publications
Date: 14-11-2020
Abstract: Social media are pervaded by death. This article utilizes ideas drawn primarily from the work of Guy Debord—the society of the spectacle—and Jean Baudrillard—his discussion of death in Symbolic Exchange and Death, to think through the significance of death on social media. Debord argued that the consequence of the ubiquity of the mass media, and television in particular, and their increasing imbrication with consumption capitalism, was that social relations are increasingly lived as spectacle. At the same time, in the modern world, death has become increasingly separated from life. No longer integrated into social life, death has become the feared and meaningless end of life, which is to be preserved at all costs. The death that is now meaningful is not “natural” death but violent death. Social media is full of unnatural deaths including beheadings and suicide. This article discusses the pervasiveness of these on social media.
Publisher: Routledge
Date: 17-02-2016
Publisher: SAGE Publications
Date: 08-2016
Abstract: Western Australia, like Tasmania, can slip too easily off the map, a periphery on the periphery, its significance occluded by the hegemony of the eastern states of Australia. Yet Western Australia is core to Australia’s economy, not least through mining, and through its proximity to Asia. The West is itself connected more closely to region, in both the local and transnational senses. Its tradition of secessionist thinking indicates a kind of exceptionalist culture. This is a difference which begs for explanation. This essay introduces some motifs and themes of this special issue of Thesis Eleven, entitled ‘Way Out West: Mapping Western Australia’. It locates the West in some recent historical, geographical and narrative context. It gestures toward the biography of its editors, Jon Stratton and Peter Beilharz, and their locations spread across the west and east of the continent. It calls for further scrutiny of these, and other antipodes.
Publisher: Oxford University Press (OUP)
Date: 03-1994
Publisher: SAGE Publications
Date: 05-1983
Publisher: Informa UK Limited
Date: 02-10-2021
Publisher: Informa UK Limited
Date: 1982
Publisher: Informa UK Limited
Date: 07-2007
Publisher: Springer International Publishing
Date: 2020
Publisher: Informa UK Limited
Date: 16-09-2021
Publisher: Informa UK Limited
Date: 28-06-2019
Publisher: SAGE Publications
Date: 08-2016
Abstract: In the early 1980s Perth was probably the most important city in Australia for Cultural Studies. Through that decade many intellectuals who became leaders in Australian Cultural Studies and important players in Cultural Studies outside of Australia worked in Perth. Among them were John Fiske, John Frow, John Hartley, Tom O’Regan, Lesley Stern, Graeme Turner and, a decade later, Ien Ang. This essay discusses the presence of these academics in Perth and advances some reasons why Perth became so important to Cultural Studies in Australia. It also discusses the kind of Cultural Studies that became privileged in Perth and considers some of the reasons for this. Perth Cultural Studies in the 1980s was primarily text-based and focused on screen-related popular culture, especially television programs and popular film. Cultural Studies in Perth developed in a city thought of as marginal to Australia, in institutions that were either not universities or, in the case of Murdoch University, was a very new university, by cosmopolitan academics who mostly came from either elsewhere in Australia or from the United Kingdom.
Publisher: Wiley
Date: 12-2010
Publisher: Informa UK Limited
Date: 10-2009
Publisher: SAGE Publications
Date: 02-1996
Publisher: Informa UK Limited
Date: 1996
Publisher: SAGE Publications
Date: 20-07-2021
DOI: 10.1177/07255136211033167
Abstract: Panic buying of toilet rolls in Australia began in early March 2020. This was related to the realisation that the novel coronavirus was spreading across the country. To the general population the impact of the virus was unknown. Gradually the federal government started closing the country’s borders. The panic buying of toilet rolls was not unique to Australia. It happened across all societies that used toilet paper rather than water to clean after defecation and urination. However, research suggests that the panic buying was most extreme in Australia. This article argues that the panic buying was closely linked to everyday notions of Western civilisation. Pedestal toilets and toilet paper are key aspects of civilisation and the fear of the loss of toilet paper is connected to anxiety about social breakdown, the loss of civilisation. This is the fear manifested in the perceived threat posed by the virus.
Publisher: University of California Press
Date: 03-2021
DOI: 10.1525/JPMS.2021.33.1.50
Abstract: Dancing has been a central component of the experience of popular music, yet with the exceptions of disco and electronic dance music, it is rarely discussed in the academic literature. This article focuses on a pivotal moment in the transformation of dancing to popular music in England. The second half of the 1960s saw the gradual move from dancing to live groups to dancing to records in clubs. Just before this dancing itself had changed from something done by couples to something done by in iduals albeit usually in pairs, though often girls might dance together in a group. Young people in England learned to dance to music with a strongly emphasized beat. This article traces this genre from its early manifestations in tracks by the Honeycombs and the Dave Clark Five in the first half of the 1960s to the early 1970s in tracks by Mud and Slade. The article ends by looking at how this musical genre morphed into Eurodisco in the production work of Giorgio Moroder.
Publisher: Informa UK Limited
Date: 06-2011
Publisher: Informa UK Limited
Date: 03-09-2017
Publisher: Routledge
Date: 20-05-2018
Publisher: SAGE Publications
Date: 02-1989
Publisher: Cambridge University Press (CUP)
Date: 2005
DOI: 10.1017/S0261143004000315
Abstract: Punk is usually thought of as a radical reaction to local circumstances. This article argues that, while this may be the case, punk's celebration of nihilism should also be understood as an expression of the acknowledgement of the cultural trauma that was, in the late 1970s, becoming known as the Holocaust. This article identifies the disproportionate number of Jews who helped in the development of the American punk phenomenon through the late 1960s and 1970s. However, the effects of the impact of the cultural trauma of the Holocaust were not confined to Jews. The shock that apparently civilised Europeans could engage in genocidal acts against groups of people wholly or partially thought of by most Europeans as European undermined the certainties of post-Enlightenment modernity and contributed fundamentally to the sense of unsettlement of morals and ethics which characterises the experience of postmodernity. Punk marks a critical cultural moment in that transformation. In this article the focus is on punk in the United States.
Publisher: Equinox Publishing
Date: 03-10-2008
Publisher: SAGE Publications
Date: 11-2003
DOI: 10.1177/13675494030064004
Abstract: Theoretical discussions of the Holocaust are often couched in terms of whether or not it was unique. It is possible to understand the Nazi attitude to ‘Eastern Europe’ as a continuation of a 19th-century German view that Poland was not European and could be colonized. The Nazi racialization of the Jews as non-white and the procedures such as concentration c s, slavery and extermination used against the Jews are practices drawn from the colonial periphery of the modern European world and used by other European powers in that context. We can construct a German colonial history in which the treatment of the Herero and other tribes in Southwest Africa prefigures the Nazi attitude to the peoples of Eastern Europe and the Jews across Europe. From this point of view, the Jews in Europe were an alien migrant people within the boundary of white Europe.
Publisher: Intellect
Date: 09-2020
DOI: 10.1386/MMS_00019_1
Abstract: KISS was a hard rock group, one of the most successful during the second half of the 1970s and early 1980s. The group’s two founding members, Gene Simmons and Paul Stanley, were both Jewish. Indeed, both were the sons of Holocaust survivors. This article examines the impact of Simmons’s and Stanley’s Jewishness on KISS as a rock group and on its success. One of the most obvious impacts was the drive to succeed which Simmons and Stanley shared. Simmons writes about wanting power, Stanley that he wanted respect. As children of survivors they wanted safety. During much of the 1970s, the Holocaust was not yet publicly acknowledged. However, its trauma is evident in, for ex le, the stage characters that Simmons and Stanley adopted. First, and most obviously, the disguise which hid their Jewishness but, at the same time, Simmons’s creation of the Demon and Stanley’s Starchild both in different ways acting out their inherited Holocaust trauma. This article addresses the many ways that Simmons’s and Stanley’s Jewishness, as filtered through the inherited trauma of the Holocaust, impacted on the image and music of KISS.
Publisher: Informa UK Limited
Date: 15-04-2014
Publisher: Informa UK Limited
Date: 03-07-2018
Publisher: SAGE Publications
Date: 05-1982
Publisher: SAGE Publications
Date: 02-1994
Publisher: Wiley
Date: 06-2008
Publisher: Wiley
Date: 30-10-2006
Publisher: Informa UK Limited
Date: 10-2009
Publisher: Routledge
Date: 05-07-2017
Publisher: Informa UK Limited
Date: 17-11-2017
Publisher: Informa UK Limited
Date: 10-2008
Publisher: Springer International Publishing
Date: 2022
Publisher: Informa UK Limited
Date: 03-2012
Publisher: Cambridge University Press (CUP)
Date: 10-2008
DOI: 10.1017/S0261143008102203
Abstract: The Beastie Boys are usually described as the white hip hop group who helped break rap to a broad-based white audience. Rarely is it acknowledged that the Beasties all came from Jewish backgrounds. This article examines the implications of the Beastie Boys’ Jewishness. The Beasties can be placed in a long history of Jewish entertainers reworking black music for white American audiences. By the 1980s, Jews in the United States had been assimilated into whiteness, yet it is clear that the memory of discrimination lived on. The members of the Beasties played with whiteness – performed in whiteface – while being very aware of their own Jewishness and the implications of this. With the advice and mentoring of African American Russell Simmons and the Jewish Rick Rubin, the group gained respect in the black community as legitimate rappers and then set out to perform as uncivil rock performers for white audiences. This article argues that the Beasties’ Jewishness was central to their success as the group that brought rap to a mainstream white American audience.
Publisher: Informa UK Limited
Date: 09-2009
Publisher: Informa UK Limited
Date: 24-11-2015
Publisher: Informa UK Limited
Date: 04-2008
Publisher: Routledge
Date: 05-07-2017
Publisher: Informa UK Limited
Date: 02-09-2015
Publisher: Palgrave Macmillan US
Date: 2008
Publisher: SAGE Publications
Date: 07-10-2009
Abstract: Michael Mann was the Executive Producer for the first two seasons of Miami Vice during the mid-1980s. This article argues that his worldview is deeply imprinted on the series. Mann's worldview thinks of society as organized by law and that, outside of the law, there is unregulated violence. In Miami Vice this view organizes the relationship between the United States and the world beyond its boundaries—a world of gunrunners, drug lords, and others who are threatening the integrity of the United States. Most especially, this United States is threatened by Latin Americans whose illegal activities have to be stopped by the Miami Organized Crime Bureau. While Miami Vice has been praised for its avantgarde, postmodern emphasis on style, this article argues that it was actually the show's politics—so reassuring for mainstream, white America—that provided the basis for Miami Vice's remarkable popularity.
Publisher: Informa UK Limited
Date: 04-05-2021
Publisher: Informa UK Limited
Date: 19-09-2016
Publisher: Informa UK Limited
Date: 1996
Publisher: Bloomsbury Academic
Date: 2023
Publisher: Informa UK Limited
Date: 04-02-2019
Publisher: Cambridge University Press (CUP)
Date: 2014
DOI: 10.1017/S026114301300055X
Abstract: This paper examines the genre of tracks centred around the mid-1960s to the mid-1970s which include aural representations of female sexual pleasure. The two most important tracks, and the ones on which this paper focuses, are Jane Birkin and Serge Gainsbourg ‘Je t'aime … moi non plus’ and Donna Summer ‘Love To Love You Baby’. The paper argues that this new audibility of female sexual pleasure related to the transformation in the understanding of female orgasm associated with Alfred Kinsey and with William Masters and Virginia Johnson, the American sexologists who radically changed Western understandings of sexual behaviour in the 1950s and 1960s. More broadly, the paper argues for a link between the so-called sexual revolution of the late 1960s and 1970s and the popularity of tracks in which sounds identified as female sexual pleasure were upfront in the musical mix.
Publisher: Project MUSE
Date: 2016
Publisher: Routledge
Date: 15-04-2016
Publisher: SAGE Publications
Date: 05-2005
Abstract: This article examines the whiteness in the television series Buffy the V ire Slayer. The author argues that the show’s overwhelming whiteness is a product of a generalized white anxiety about the numerical loss of white dominance across the United States and, in particular, in California. The article goes on to think through the role that Jewishness plays in the program, discussing the relationship between the apparently Anglo-American Buffy, played by a Jewish actor, and her sidekick, Willow, who is characterized as Jewish but is played by a non-Jewish actor. The evil master in the first series is given Nazi characteristics and the destruction that he wants to inflict carries connotations of the Holocaust. Structurally, Buffy is produced as the Jew who saves the United States from this demonic destruction. In this traumatic renarrativising, the Holocaust comes to stand for the white-experienced crisis of the loss of white supremacy in the United States. With this reading we can begin to understand the show’s popularity among early adult, predominantly white Americans.
Publisher: SAGE Publications Ltd
Date: 2014
Publisher: Equinox Publishing
Date: 04-10-2000
Publisher: Equinox Publishing
Date: 04-10-2000
Publisher: Routledge
Date: 02-09-2003
Publisher: Equinox Publishing
Date: 18-10-2013
Publisher: Informa UK Limited
Date: 1996
Publisher: SAGE Publications
Date: 06-2011
Abstract: There has been a recent upsurge in texts featuring zombies. At the same time, members of western countries have become increasingly anxious about displaced peoples: asylum-seekers and other so-called illegal migrants who attempt to enter those countries. What displaced people, people without the protection of the state and zombies have in common is that both manifest the quality of what Giorgio Agamben calls ‘bare life’. Moreover, zombies have the qualities of workers or slaves driven to total exhaustion. The genre of the zombie apocalypse centres on laying siege to a place that is identified as a refuge for a group of humans. In these texts it is possible to read an equation of zombies with displaced people who are ‘threatening’ the state. Indeed, the rhetoric used to describe these people constructs them as similar to mythical zombies. This article includes analyses of a number of zombie films including Shaun of the Dead, Fido and Undead.
Publisher: Cambridge University Press (CUP)
Date: 1983
DOI: 10.1017/S0261143000001604
Abstract: Given the existing capitalist determinants on the structure of the popular music industry, the record companies, because of their economic importance, not only represent one moment in a system where the music moves from artist to audience, but also generate both the artist, as producer for the industry, and the audience, as consumer for the industry's products — and both as living facets of an ideology best described as Romantic. Romanticism, whilst lived as being in opposition to capitalist concerns founded on rationality and standardisation, in fact supports capitalism by providing both an enabling rationale for invention and a sustaining emphasis on the in idual which allows cultural products to be viewed as something other than simply more commodities. The Otherness of culture in capitalist society may be viewed as the manifestation of the necessary but repressed ‘irrational’ qualities which bring into existence and sustain the rational, ordered structure of capitalist practice. In the record business, both the rational aspects of capitalism and the Romanticism of its Other are highlighted by virtue of the highly developed capitalist nature of the culture industry.
Publisher: Cambridge University Press (CUP)
Date: 1983
Publisher: Informa UK Limited
Date: 1994
Publisher: Informa UK Limited
Date: 10-2008
Publisher: Informa UK Limited
Date: 02-01-2016
Publisher: Informa UK Limited
Date: 2000
Publisher: Informa UK Limited
Date: 09-2013
Publisher: SAGE Publications
Date: 18-05-2016
Abstract: This essay is about the hugely successful sitcom, The Big Bang Theory. The programme is centred on an ensemble cast of five main characters, the central two of whom, Sheldon Cooper and Leonard Hofstadter, share an apartment, who are highly intelligent and work at California Institute of Technology, and a woman, Penny, whose family name is never revealed, who lives across the hall from Sheldon and Leonard. In this essay, I argue that through the behaviour of the characters, the show reproduces many of the key ideological assumptions of neoliberalism. Neoliberalism is a socio-economic theory of social life which privileges competition above all affective social bonds. I argue that Sheldon’s lack of empathy, which has led many viewers to assume he has Asperger’s Syndrome, is also a key characteristic of success in the neoliberal order. I go on to explore the complexity of family relations in neoliberalism and compare these to the familial structures in The Big Bang Theory.
Publisher: Informa UK Limited
Date: 23-05-2017
Publisher: Bloomsbury Publishing Plc
Date: 2017
Publisher: Informa UK Limited
Date: 11-1984
Publisher: SAGE Publications
Date: 08-1987
DOI: 10.1177/144078338702300206
Abstract: This paper examines the relationship between the discursive areas classified under the terms sociology and culture. This relationship is examined in an historical perspective leading up to the modern sociological understanding of culture as articulated through the dominant, Parsonsian originated paradigm. I want to suggest that the success of Parsonsian inflected sociology has had the effect of eliding questions concerned with socio-cultural specificity in favour of a movement towards normative universalisation. One way in which this has been achieved has been through a very particular redefinition of the meaning of culture. One concrete effect of the acceptance of this redefinition has been that the problem of socio- cultural distinctiveness - as, for ex le, in the case of Australian society - has been hard to formulate let alone come to terms with.
Publisher: Informa UK Limited
Date: 02-01-2023
Publisher: Informa UK Limited
Date: 11-2006
Location: United Kingdom of Great Britain and Northern Ireland
Location: United Kingdom of Great Britain and Northern Ireland
Start Date: 2012
End Date: 2014
Funder: Australian Research Council
View Funded ActivityStart Date: 1995
End Date: 1997
Funder: Australian Research Council
View Funded Activity