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One of the common responses to the coronavirus pandemic and the lockdowns that have been a feature of almost all countries has been the making of what have come to be called parodies. These are songs with new lyrics set to the tunes of established and well-known popular songs. The new lyrics describe life during the pandemic, the experience of isolation during lockdown, the importance of wearing masks and washing hands, the importance of social distancing when one is out. The pandemic parodies are a comment, sometimes jocular sometimes more anguished, on the new normal. They are posted on social media sites, mostly YouTube but also other sites such as TikTok, and invite comments from their audience about everything from the quality of the recording to the accuracy of the lyrics in reflecting people’s lives during this time. Some of these parodies are by semi-professional singers, others by amateurs. Most of the parodists are white males and most of the songs parodied are from the 1970s and 1980s, part of the cultural capital of Generation X. This article argues that calling these songs parodies invites misunderstanding. They function more like the ballads of the eighteenth and nineteenth centuries when new lyrics would be written to be sung to well-known tunes. Often these lyrics would be commentaries on significant public or political events. This article argues that the pandemic parodies function similarly only now rather than the new lyrics being sold in the streets by hawkers, the songs are available on the web. At a time when the popular music industry is undergoing a fundamental transformation as a consequence of the impact of new technologies such as streaming, these pandemic parodies suggest another transformation in the production and consumption of popular music. Refereed/Peer-reviewed

KISS was a hard rock group, one of the most successful during the second half of the 1970s and early 1980s. The group’s two founding members, Gene Simmons and Paul Stanley, were both Jewish. Indeed, both were the sons of Holocaust survivors. This article examines the impact of Simmons’s and Stanley’s Jewishness on KISS as a rock group and on its success. One of the most obvious impacts was the drive to succeed which Simmons and Stanley shared. Simmons writes about wanting power, Stanley that he wanted respect. As children of survivors they wanted safety. During much of the 1970s, the Holocaust was not yet publicly acknowledged. However, its trauma is evident in, for example, the stage characters that Simmons and Stanley adopted. First, and most obviously, the disguise which hid their Jewishness but, at the same time, Simmons’s creation of the Demon and Stanley’s Starchild both in different ways acting out their inherited Holocaust trauma. This article addresses the many ways that Simmons’s and Stanley’s Jewishness, as filtered through the inherited trauma of the Holocaust, impacted on the image and music of KISS. Refereed/Peer-reviewed

Panic buying of toilet rolls in Australia began in early March 2020. This was related to the realisation that the novel coronavirus was spreading across the country. To the general population the impact of the virus was unknown. Gradually the federal government started closing the country’s borders. The panic buying of toilet rolls was not unique to Australia. It happened across all societies that used toilet paper rather than water to clean after defecation and urination. However, research suggests that the panic buying was most extreme in Australia. This article argues that the panic buying was closely linked to everyday notions of Western civilisation. Pedestal toilets and toilet paper are key aspects of civilisation and the fear of the loss of toilet paper is connected to anxiety about social breakdown, the loss of civilisation. This is the fear manifested in the perceived threat posed by the virus. Refereed/Peer-reviewed

This article examines the relationship between Christianity and claims about Australian culture. In modernity Christianity was reconstructed as fundamentally European and white. This article argues that English middle-class values, which historically have been deeply imbricated with the values expressed by the Church of England, have been taken up in Australia as the foundation of Australian culture. In official multiculturalism non-Anglican Christian denominations have been with ethnics. This includes Catholicism which, in spite of the numbers of Italians, Maltese, and other Catholics now present in Australia, is still associated with the Irish. This article argues that the Howard government was a watershed in the political use of Christianity to claim a hegemonic Australian morality and this has been established in opposition to other religious groups in Australia, most obviously Muslims. At the same time, this Christian morality is implicitly white and the members of other religions are assumed to be non-white. Refereed/Peer-reviewed

There is limited scholarship about Paul Fenech’s television comedy series and films. What there is tends to focus on Pizza (2000–2007) and place it, and its spin-off film, Fat Pizza (2003), within what has been called the wogsploitation cycle that includes most prominently The Wog Boy (2000). In this article I discuss two of Fenech’s television series, Pizza and Housos (2011–2013), in the context of representations of the underclass. I argue that the discourse of the underclass has evolved as the Other of neoliberalism in a similar way that the dangerous class, what Karl Marx called the lumpenproletariat, was constructed as the Other of industrial capitalism. The characters in Pizza, with their pitiful below-minimum-wage earnings, exist on the borderline of the underclass, while the characters in Housos are immersed in the underclass existence. The film Housos v Authority (2012) is a populist exploration of Australian underclass life. Refereed/Peer-reviewed

This article discusses the whiteness of Christianity in Australia and the ways that Islam has been constructed as Other. Its starting point is the phrase used by a protestor at a Reclaim Australia event: ‘Jesus not Islam’. The article begins with a historical contextualization showing how Christianity became white in Europe from around the early seventeenth century. It then discusses how Islam came to be produced as a fundamental threat to Christianity, the moral order articulated through it, and the civilization built on it. The article argues that recognizing this is a necessary foundation for understanding why Islam has been singled out in Australia and the ways that the ‘Australian Muslim’ has been constructed. Refereed/Peer-reviewed

This essay is about the hugely successful sitcom, The Big Bang Theory. The programme is centred on an ensemble cast of five main characters, the central two of whom, Sheldon Cooper and Leonard Hofstadter, share an apartment, who are highly intelligent and work at California Institute of Technology, and a woman, Penny, whose family name is never revealed, who lives across the hall from Sheldon and Leonard. In this essay, I argue that through the behaviour of the characters, the show reproduces many of the key ideological assumptions of neoliberalism. Neoliberalism is a socio-economic theory of social life which privileges competition above all affective social bonds. I argue that Sheldon’s lack of empathy, which has led many viewers to assume he has Asperger’s Syndrome, is also a key characteristic of success in the neoliberal order. I go on to explore the complexity of family relations in neoliberalism and compare these to the familial structures in The Big Bang Theory. Refereed/Peer-reviewed

This article is about the very popular American sitcom The Big Bang Theory. It is focused on the ways that the economic assumptions of neoliberalism are made clear in the programme and how much of this process is linked to the character of Sheldon. I argue that Sheldon is a version of the literary trope of the fool. In this case, a person who is lacking in social skills and who therefore speaks the “truth” of his understanding of social situations. It is this understanding which, I argue is neoliberal. I am not arguing that The Big Bang Theory promotes neoliberalism. Rather, I am suggesting that, most probably unintentionally, the show lays out many of the key premises of neoliberalism, such as the importance of contracts, and enables audiences to consider these while laughing at the show. Refereed/Peer-reviewed