{"title":"Prof Rosemary Overell","description":"\u003cp\u003eProf Rosemary Overell’s work explores the intersections of \u003cstrong\u003earts and culture\u003c\/strong\u003e with a bold, unflinching perspective. Her writing often delves into themes of performance, subversion, and the limits of cultural expression, challenging conventional boundaries.\u003c\/p\u003e\n\n\u003cp\u003eReaders can expect engaging, thought-provoking texts that blend critical analysis with vivid, at times provocative, imagery. Her unique voice invites reflection on the ways art interacts with society, identity, and power.\u003c\/p\u003e","products":[{"product_id":"blood-dusters-fisting-the-dead-by-prof-rosemary-overell-9798216382249","title":"Blood Duster’s Fisting the Dead","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003e\u003cstrong\u003eThis account of Melbourne porno-grindcore band Blood Duster's 1993 debut album \u003cem\u003eFisting the Dead\u003c\/em\u003e positions the \"pure evil filth\" album as a subcultural object at odds with Australia's cosmopolitanism.\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eWith track titles invoking explicit language and lurid imagery, \u003cem\u003eFisting\u003c\/em\u003e was deliberately offensive. Drawing on interviews with the band, this book considers the subcultural work of causing offense in a sub-genre of extreme metal where offensiveness is a requirement. \u003cem\u003eFisting\u003c\/em\u003e’s liner notes announced “BLOOD DUSTER DOES NOT CONDONE SEXISM” – apparently at odds with the lyrical material and the band’s image. Through a consideration of how Blood Duster mobilized humor and exaggeration, Rosemary Overell considers how \u003cem\u003eFisting\u003c\/em\u003e might work as a critique of the misogyny it loudly declares.\u003c\/p\u003e\n\n\u003cp\u003eBlood Duster’s debut also indicates other contradictions – their crusty, subcultural, grindcore status was legendary, but they were signed on an art-noise label (Dr Jim’s Records), which proffered them to avant-garde music lovers. Further, in the cultural and political context of Prime Minister Paul Keating's progressive government's push for cosmopolitan middle class creative production - the 1990s Australian iteration of the \"culture wars\" - where does such sordid music fit in? \u003cem\u003eFisting\u003c\/em\u003e, in its vulgarity and contradictions, offers an insight into the subcultural politics of gender, taste and cultural value.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Allen \u0026 Unwin Aotearoa New Zealand","offers":[{"title":"Default Title","offer_id":67794232639724,"sku":"9798216382249","price":27.99,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9798216382249-blood-duster-s-fisting-the-dead-1.jpg?v=1792452354"},{"product_id":"blood-dusters-fisting-the-dead-by-prof-rosemary-overell-9798216382232","title":"Blood Duster’s Fisting the Dead","description":"\u003cdiv class=\"book-description\"\u003e\n\u003cp\u003e\u003cb\u003eThis account of Melbourne porno-grindcore band Blood Duster's 1993 debut album \u003ci\u003eFisting the Dead\u003c\/i\u003e positions the \"pure evil filth\" album as a subcultural object at odds with Australia's cosmopolitanism.\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp\u003eWith track titles invoking explicit language and lurid imagery, \u003ci\u003eFisting\u003c\/i\u003e was deliberately offensive. Drawing on interviews with the band, this book considers the subcultural work of causing offence in a sub-genre of extreme metal where offensiveness is a requirement. \u003ci\u003eFisting\u003c\/i\u003e’s liner notes announced “BLOOD DUSTER DOES NOT CONDONE SEXISM” – apparently at odds with the lyrical material and the band’s image. Through a consideration of how Blood Duster mobilised humour and exaggeration, Rosemary Overell considers how \u003ci\u003eFisting\u003c\/i\u003e might work as a critique of the misogyny it loudly declares.\u003c\/p\u003e\n\n\u003cp\u003eBlood Duster’s debut also indicates other contradictions – their crusty, subcultural, grindcore status was legendary, but they were signed on an art-noise label (Dr Jim’s Records), which proffered them to avant-garde music lovers. Further, in the cultural and political context of Prime Minister Paul Keating's progressive government's push for cosmopolitan middle class creative production - the 1990s Australian iteration of the \"culture wars\" - where does such sordid music fit in? \u003ci\u003eFisting\u003c\/i\u003e, in its vulgarity and contradictions, offers an insight into the subcultural politics of gender, taste and cultural value.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Allen \u0026 Unwin Aotearoa New Zealand","offers":[{"title":"Default Title","offer_id":67798065283308,"sku":"9798216382232","price":143.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0705\/7784\/8556\/files\/9798216382232-blood-duster-s-fisting-the-dead-1.jpg?v=1792471427"}],"url":"https:\/\/bookhero.pro\/collections\/prof-rosemary-overell.oembed","provider":"Book Hero","version":"1.0","type":"link"}