Abstract
This paper examines the relation between culture and organizations in terms of the cultural meaning and contradiction that can be located in the ‘products’ of the entertainment industry. Specifically, we focus on the meaning of Australian masculinity as it is located in the cultural expression of commercial Australian rock, or OzRock as it is commonly referred to. We explore how the myth of Australian masculinity is fractured by complex and subtle gender relations that make its representation in one of its most successful business forms a failed project of the repression of the feminine. Despite its association with mateship, aggression, physicality, sexual prowess and social dominance, we highlight the instabilities inherent in Australian masculinity through a gendered reading of commercially produced and mass-consumed popular culture.
Keywords:
Acknowledgements
We would like to thank Simon Lilley and the three anonymous reviewers for their generous and constructive commentary on this paper, and John Doherty for his editorial patience. We also thank The Hayden Orpheum Picture Palace in Cremorne, Sydney, for starting this process – it was there that we saw the film Little Fish (2005) featuring Sarah Blasko's haunting rendition of the Cold Chisel song ‘Flame Trees’ – ‘who needs that sentimental bullshit anyway?’. It seems we all do.
Notes
In the Australian vernacular, a ‘Sheila’ signifies a woman or a girl, and a ‘poofta’ signifies a homosexual – both terms are generally regarded as derogatory, especially the latter.
Australian pubs were traditionally separated into a front bar and a back bar. The front bar had lower dress code standards and by convention only men were admitted entry. Front bars only had men's toilet facilities.
TnT was a band formed by two legendary Australian rock front men – Tim Rogers of the band You Am I, and Tex Perkins from both the Cruel Sea and the Beasts of Bourbon. Their one and only album to date ‘My Better Half’ was released in 2006.