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Review: Resorting to Tourism: Cultural Policies for Tourist Development in Australia

Study of Popular Music and their many publications. Grossberg's contribution in particular is bold and refreshing, challenging the 1960s and 1970s orthodoxy that elevated the pervasive power of the alternative, counter cultures, or youth/rock music sub-cultures over the mainstream. In his paper, 'Rock Resistance and Resistance to Rock' he points out that the models that have been relied upon to explain rock's place in the cultural and political spectrum have always been based upon 'a binary distinction between the mainstream and the margins'. Grossberg uses postmodemity as the means to his remodelling end. Grossberg's work is infused with enthusiasm for music and the music industry, and his experience as a music journalist. The absence of practical knowledge is the failure of some of the other material in this publication. (Indeed, it is the root cause of the failure of much writing on cultural industnes.) Grossberg's extended examination of postmodernity found a fuller elaboration in his Power Foundation Lecture of 1988, It's Q Sin: Politics, Postmodernityand the Popular. Ray Watterson's contribution, 'The Role of Commercial Radio in the Development of Australian Rock Music', is a strong endorsement of the Australian music quota on commercial radio. As a former member of the Australian Broadcasting Tribunal, Watterson (like Professors Julie James Bailey and Mark Armstrong) infuses the debate with policy experience of the ABT that is necessary if activist academics are to have a role in cultural policy. Sally Stockbridge's presentation, 'The Pay-for-Play Debate: Australian Television versus the Record Companies, and the Myth of "Public Benefit'", attempts to explain copyright and music video. It appears to be based on experience of neither music nor the industry. This criticism is increasingly likely to surface as pressures on academics to produce traditional scholarly studies isolates them from the affective issues that are the foundation of the music and its industry. John Shepherd's paper, 'The Death of Copyright, the Rise of Women and Rock in a Socialist State,' is seriously flawed, seen from