Titlebook: Urban Australia and Post-Punk; Exploring Dogs in Sp David Nichols,Sophie Perillo Book 2020 The Editor(s) (if applicable) and The Author(s)

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,Let’s Go and Get in Some Trub,scusses aspects of his early life, his relocation from outer suburban Rowville to inner-city St Kilda in the late 1970s in a house with some parallels to the . domestic space and his early involvement in bands such as The Fabulous Marquises and Plays with Marionettes. Hugo Race, singer, guitarist an

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,We’re the Most Fabulous People Australia Has Ever Known,s section of the book, to play a character from the same late 1970s Melbourne scene he was a part of in his teens. Delaney discusses his own upbringing; early experiences of playing music, including his time in The Curse; and his near-accidental transition to acting. While Delaney was one of the man

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It Was Never Pistols at Dawn,pressions of other members, its social machinations, and the importance of drugs and personal power in the band. She contrasts these with the way The Ears and Sam Sejavka in particular were depicted in . and reflects on Richard Lowenstein’s role as observer and ‘teller’ of the world they both saw. S

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Rock Star in Space,na of Michael Hutchence, examining him as a pop star who tried—in part, successfully—to problematise the superficial elements of his celebrity. She discusses her own experience as a fan of pop music in the mid-1980s; her switching of allegiances from the Uncanny X-Men to INXS and her time as a passi

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The Intimacy of Distance: Re/Reading ,e film’s layered and collage-like relationship to time, place and genre make it available as a map for young Australians, especially those growing up outside the major cities, who seek to find their ways into lives of aesthetic and political playfulness and creativity. Her essay offers a series of r

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,‘Making It’: The Ears, INXS, and Music Scene Restructuring as Seen Through ,omy, that INXS and The Ears existed at entirely distinct levels, commercially and perhaps also in terms of significance. Referring to contemporary reportage and later interview material, Taylor provides an extensive overview of the careers of both groups, mapping places both played in Melbourne in t