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Bibliography Bibliography Books Alberts, R. (2003) Tascam: 30 Years of Recording Evolution (Milwaukee: Hal Leonard). Allen, T. (1995) Roar, and Quieter Moments from a Group of Melbourne Artists 1980–1993 (Roseville: Craftsman House). Apter, J. (2003) Tomorrow Never Knows: The Silverchair Story (Port Melbourne: Coulomb Communications). Apter, J. (2013) Up from Down Under: How Australian Music Changed the World (Scoresby: Five Mile Press). Arns, I., and Horn, G. (eds.) (2007) History Will Repeat Itself: Strategies of Re- enactment in Contemporary (Media) Art and Performance (Frankfurt: Revolver Books). Barnes, J. (2017) Working Class Man (Sydney: HarperCollins). Blackburn, S. (ed.) (2015) Breaking Out: Memories of Melbourne in the 1970s (Willoughby, NSW: Hale and Iremonger). Bloom, H. (1975) A Map of Misreading (Oxford: Oxford University Press). Bolin, A. (2018) Dead Girls: Essays on Surviving an American Obsession (New York: HarperCollins). Bongiorno, F. (2015) The Eighties: The Decade That Transformed Australia (Collingwood: Black Inc.). © The Editor(s) (if applicable) and The Author(s) 2020 307 D. Nichols and S. Perillo (eds.), Urban Australia and Post-Punk, https://doi.org/10.1007/978-981-32-9702-9 308 Bibliography Breen, M. (1993) Rock Dogs: Politics and the Australian Music Industry (Lanham: University Press of America). Carbines, E. (2003) Live Music Taskforce Report and Recommendations (Mel- bourne: Department of Planning and Community Development). Cateforis, T. (2011) Are We Not New Wave? Modern Pop at the Turn of the 1980s (Ann Arbor: The University of Michigan Press). City of Richmond (1988) Copping It Sweet: Shared Memories of Richmond (Rich- mond: City of Richmond). Clifton, J. (2011) The Address Book: A Memoir About My Homes (Camberwell: Penguin). Creswell, T. (2017) Shine Like It Does (Richmond: Echo). Davison, G. (ed.) (1980) Melbourne on Foot: 15WalksThrough Historic Melbourne (Adelaide: Rigby). Dick, P.K. (1979) Do Androids Dream of Electric Sheep? (New York: Ballantine). Engleheart, M. (2010) Blood, Sweat and Beers: Oz Rock from the Aztecs to Rose Tattoo (Sydney, NSW: HarperCollins). Evans, I. (1989) Getting the Details Right: Restoring Australian Houses 1890s–1920s (Yeronga: Flannel Flower Press). Fiske, J., Hodge, R. I. V., and Turner, R. (1987) Myths of Oz: Reading Australian Popular Culture (Sydney: Allen & Unwin). Fleckney, P.(2018) Techno Shuffle: Rave Culture and the Melbourne Underground (Melbourne, VIC: Melbourne Books). Florida, R. (2002) The Rise of the Creative Class and How It’s Transforming Work, Leisure, Community and Everyday Life (New York: Basic Books). Garner, H. (1980) Honour and Other People’s Children (Melbourne: McPhee Gribble). Goldman, V. (2019) Revenge of the she-Punks (Austin: University of Texas Press). Gordon, K. (2015) Girl in a Band (London: Faber & Faber). Haese, R. (2011) Permanent Revolution: Mike Brown and the Australian Avant- Garde 1953–1997 (Carlton: Miegunyah). Haese, R., Brown, M., and Nodrum, C. (1995) Power to the People: The Art of Mike Brown (Melbourne: National Gallery of Victoria). Heazlewood, J. (2014) Funemployed: The Life of an Artist in Australia, from Cradle to Centrelink (Melbourne: Affirm Press). Hebdige, D. (1979) Subculture: The Meaning of Style (London, UK: Routledge). Hill, A. Butterfly on a Pin (Richmond: Hardie Grant). Hillier, R. (1967) Let’s Buy a Terrace House (Sydney: Ure Smith). Homan, S. (2003) The Mayor’s a Square: Live Music and Law and Order in Sydney (Sydney: Local Consumption Publications). Bibliography 309 Howe, R. (1988) New Houses for Old: Fifty Years of Public Housing in Victoria 1938–1988 (Melbourne: Ministry of Housing and Construction). Howe, R., Nichols, D., and Davison, G. (2014) Trendyville: The Battle for Aus- tralia’s Inner Cities (Clayton: Monash University Publishing). Hutchence, T., and Glassop, P. (2000) Just a Man: The Real Michael Hutchence (London: Sidgwick and Jackson). Hyde, M. All Along the Watchtower (Carlton North: The Vulgar Press). INXS, and Bozza, A. (2005) INXS: Story to Story: The Official Autobiography (New York: Atria). INXS, Gamblin, Y., and St John, E. (1992) INXS: The Official Inside Story of a Band on the Road (Port Melbourne: Mandarin). Jameson, F. (1991) Postmodernism, or the Cultural Logic of Late Capitalism (Durham: Duke University Press). Johnson, B., and Homan, S. (2003) Vanishing Acts: An Inquiry into the State of Live Popular Music Opportunities in New South Wales (Sydney: Australia Council and the NSW Ministry for the Arts). Koch, C. J. (1986) The Doubleman (London: Triad Grafton). Lanier, J. (2010) You Are Not a Gadget: A Manifesto (London: Penguin). Lec, S. (1962) Unkempt Thoughts (New York: St Martin’s Press). Lees, L., Slater, T., and Wyly, E. K. (2007) The Gentrification Reader (London: Routledge). Lefebvre, H. (1996) Writings on Cities, translated by E. Kofman and E. Lebas (Oxford, UK: Blackwell). Mathieson, C. (2000) The Sell-In: How the Music Business Seduced Alternative Rock (Sydney: Allen & Unwin). McCalman, J. (1984) Struggletown: Public and Private Life in Richmond 1900– 1965 (Carlton: Melbourne University Press). McFarlane, I. (1999) The Encyclopedia of Australian Rock and Pop (Sydney: Allen &Unwin). Milsom, W.,Thomas, H., and Hawkes, P.(1986) Pay to Play: The Australian Rock Music Industry (Ringwood: Penguin). Morrissey (2013) Autobiography (London: Penguin). Nichols, D. (2016) Dig: Australian Rock and Pop Music, 1960–1985 (Portland: Verse Chorus). Nietzsche, F. W. (1957) The Use and Abuse of History (New York: Liberal Arts Press). O’Connor, J., O’Connor, T., Coleman, R., and Wright, H. (1985) Richmond Conservation Study (Richmond: Corporation of the City of Richmond). O’Hanlon, S. (2018) City Life: The New Urban Australia (Sydney: NewSouth). 310 Bibliography Oldenburg, R. (1999) The Great Good Place: Cafes, Coffee Shops, Bookstores, Bars, Hair Salons, and Other Hangouts at the Heart of a Community (New York, NY: Avalon Publishing Group). Overton, N. (1986) The Neon Eclipse (Ringwood: Penguin). Perec, G. (1997) Species of Spaces and Other Pieces (London: Penguin). San Miguel, D. (2011) The Ballroom: The Melbourne Punk and Post-punk Scene— A Tell All Memoir (Melbourne: Melbourne Books). Schuftan, C. (2012) Entertain Us: The Rise and Fall of Alternative Rock in the Nineties (Sydney, Australia: HarperCollins). Seabrook, J. (2016) The Song Machine: How to Make a Hit (London: Vintage). Seymour, M. (2008) Thirteen Tonne Theory: Life Inside Hunters and Collectors (Camberwell: Penguin). Smith, N. (1996) The New Urban Frontier: Gentrification and the Revanchist City (London: Routledge). Springsteen, B. (2016) Born to Run (London: Simon & Schuster). Stratton, J. (2007) Australian Rock: Essays on Popular Music (Perth: Curtin Uni- versity Press). Tevis, W. (1976) The Man Who Fell to Earth (London: Pan Macmillan). Walker, C. (ed.) (1982) Inner City Sound (Glebe, Australia: Wild & Woolley). Walker, C. (1996). Stranded: The Secret History of Australian Independent Music, 1977–1991 (Sydney: Pan Macmillan). Wardle, J. (2008) A Comparison of State and Territory Legislation and Regula- tions for Live Entertainment Venues in Australia (Sydney: Music Council of Australia). Weller, S. (2008) Girls Like Us: Carole King, Joni Mitchell, Carly Simon—And the Journey of a Generation (London: Ebury Press). Wittgenstein, L. (1966) Lectures and Conversations on Aesthetics, Psychology and Religious Belief (Oxford: Blackwell). Book Chapters Brown, J. J. (2014) ‘Ghost of the Year: Was Michael Hutchence Happy?’, in C. Ryan (ed.) The Best Music Writing Under the Australian Sun (Melbourne: Hardie Grant), pp. 279–296. Centeno, D. (2018) ‘Social Media Stakeholder Co-creation of Celebrities as Human Brands’, in B. Rishi and S. Bandyopadhyay (eds.) Contemporary Issues in Social Media Marketing (Abingdon, Oxon: Routledge), pp. 60–74. Davison, G. (1991) ‘A Brief History of the Australian Heritage Movement’, in G. Davison and C. McConville (eds.) A Heritage Handbook (Sydney: Allen & Unwin), pp. 14–27 Bibliography 311 Faber, M. (2011) ‘A Boy Next Door’, in M. Snow (ed.) Nick Cave: Sinner Saint— The True Confessions, Thirty Years of Essential Interviews (London: Plexus), pp. 15–27. Garden, D. S. ‘Frencham, Henry (1816–1897)’, Australian Dictionary of Biogra- phy, National Centre of Biography, Australian National University. Homan, S. (2003) ‘From Bankstown to the Globe, and Home: Popular Music in Sydney’, in Melissa Butcher and Mandy Thomas (eds.) Ingenious: Emerging Youth Cultures in Urban Australia (North Melbourne: Pluto Press). Riley, V. (1992) ‘Death Rockers of the World Unite! Melbourne 1978–80— Punk Rock or No Punk Rock?’, in P. Hayward (ed.) FromPoptoPunkto Postmodernism: Popular Music and Australian Culture from the 1960s to the 1990s (North Sydney: Allen & Unwin), pp. 113–126. Roger-Gernersh, A., and Carroll, B. (1976) Richmond and East Melbourne Sketch- book (Adelaide: Rigby). Rowe, D. (2001) ‘Globalisation, Regionalisation and Australianisation in Music: Lessons from the Parallel Importing Debate’, inT.Bennett and D. Carter (eds.) Culture in Australia: Policies, Publics and Programs (Melbourne: Cambridge University Press), pp. 46–65. Shaw, K. (2005) ‘Gentrification and the Inner City Blues’, in C. Long, K. Shaw, andC.M.Merlo(eds.)Suburban Fantasies: Melbourne Unmasked (Melbourne: Australian Scholarly Publishing), pp. 20–49. Shaw, K. (2013) ‘The Melbourne Indie Music Scene and the Inner City Blues’, in L. S. Porter and K. Shaw (eds.) Whose Urban Renaissance? An International Comparison of Urban Regeneration Strategies (New York:
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