Hurley, A.W. 2014, 'Review of Elina Hytnen-Ng, Experiencing flow in jazz performance', Journal of the International Association for the Study of Popular Music, vol. 4, no. 1, pp. 124-125.
Hurley, A.W. 2013, 'Son of the soil, proto-socialist or free spirit? Heinz Haufe's Entdeckungsreisen in Australien and the rehabilitation of Ludwig Leichhardt in East Germany', Limbus: Australian Yearbook of German Literary and Cultural Studies, vol. 6, no. 1, pp. 209-224.
Hurley, A.W. 2013, ''Jack of All Trades' or 'Double Agent?' The German Popular Musician as Novelist', Journal of Popular Music Studies, vol. 25, no. 2, pp. 127-153.
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A survey of contemporary German literature reveals that the figure of the popular musician-cum-novelist has gained a certain prominence since the latter part of the 1990s, including in the context of what has been referred to as Popliteratur, or Pop II.2 Although other examples could be given, Thomas Meinecke (songwriter for Freiwillige Selbstkontrolle [FSK], and author of Tomboy  and other novels) and Sven Regener (songwriter for Element of Crime, and author of Herr Lehmann  and other novels) have both attained a noticeable and sustained degree of fame and/or critical success as novelists. In doing so, they have avoided a career move hitherto common amongst those popular musicians with ambitions as writersthe genre of musician's autobiographyand other one-off attempts to transfer music to the written word, such as compendiums of song lyrics.3 At the same time, both Meinecke and Regener have maintained their pre-existing careers as proponents of what one might call ambitious popular music. Even though Popliteratur is not a new notionthere was, in the late 1960s, a first phase of Popliteratur, sometimes referred to as Pop Idurable, hybrid careers such as Meinecke's seem to be a new phenomenon, and can tell us about important changes in the contemporary German literary market, as well as about the cultural trajectory of certain types of German popular music. There may be some counterparts in other national contexts, but it is my contention that conditions specific to the German setting promoted the dual careers of people like Meinecke and Regener. Using Meinecke and Regener as case studies then, this article posits a fruitful, and increasing symbiosis, in Germany, of two cultural sub-fields and markets (the popular-musical and the literary), which inter alia calls into question the traditional hierarchization of literature and popular music (and perhaps even the strict separation of both).
Hurley, A.W. & Schlunke, K. 2013, 'Leichhardt after Leichhardt', Journal of Australian Studies, vol. 37, no. 4, pp. 537-543.
Lewis, A. & Hurley, A.W. 2012, 'Love, Popular Music, and "Technologies of Gender" in Karen Duve's Dies ist kein Liebeslied (This is Not a Love Song)', New German Critique, vol. 39, no. 1, pp. 113-137.
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Hurley, A.W. 2012, 'Of Germanic eddies in the Black Atlantic: Electronica and (post-)national identity in the music of Freiwillige Selbstkontrolle (F.S.K.) and in Thomas Meinecke's novel Hellblau (2001).', Journal of European Popular Culture, vol. 2, no. 1, pp. 65-80.
Attention has been drawn to German music's inspirational role in the 'birth' of techno and house in the United States, as well as to Germany's pre-eminent place in the recent development of electronic dance music. Some even suggest that techno might be inherently German. Yet whilst electronica seems to offer materials with which to imagine Germanness, an alternative reading is available. This article specifically examines how discourses about electronica and (post-)national identity intersect in Thomas Meinecke's recent musical oeuvre with Freiwillige Selbstkontrolle (FSK), which has for some years been involved in its own adaptations of electronica, and in his later novels, especially Hellblau. Both advance a celebratory reading of the international spread of electronica - and of the productive 'transatlantic feedback' between Germany and the United States - which is consistent not only with a long-standing German trope associated with African American forms of music (especially jazz), but also with more recent, postmodern approaches to identity
Hurley, A.W. 2011, 'Collapsing (New) Buildings: Town planning, history and music in Hubertus Siegert's Berlin Babylon (2001).', Portal Journal of Multidisciplinary International Studies, vol. 8, no. 1, pp. 1-23.
Hubertus Siegerts impressionistic documentary, Berlin Babylon, illuminates the demolition and urban renewal of Berlin during the mid-late 1990s. This was a critical phase in the citys history, as it prepared, amidst a flurry of excitement and anticipation, to become the united Germany's seat of power. Siegert's film seeks to give pause for thought, but deliberately eschews a voice of god voiceover, opting instead for a poetic audiovisual montage. This includes shots of the cityscape (and its lacunae), archival footage documenting the wartime devastation and subsequent dynamiting of buildings, observational cinema of the citys busy building sites, and of verbal snippets from various architects, developers and politiciansfollowing the film titles cue, the agents in a rerun of the construction of the Tower of Babelas well as epigraphs from the Bible and Walter Benjamin, and a prominent soundscape and musical score. As this article will demonstrate, the films (mostly) sombre soundtrack plays a critical role here, commenting on the footage, and beyond that on the whole project of the new `Berlin Republic and its attitude to architectural heritage and twentieth century history. Re-figuring the theme of this volume, Berlin Babylons music is a form of writing about (collapsing, old) architecture and history. And yet, the soundtrack is not as unambiguous as a voiceover might have been, and thereby allows creative space for the audiences interpretation, a matter that was very important to the films director. This article will focus, in particular, on three elements: the use (and treatment) of historical recordings in the film; the use of silence; and finally the way in which tracks from the Berlin band Einstrzende Neubauten use music, noise and text to comment on the project of the new Berlin.
Hurley, A.W. 2010, 'Hansjurgen Pohlands Tobby (1961/62): Jazz, cinema verite, and the beginnings of Young German Cinema', Studies in European Cinema, vol. 7, no. 3, pp. 193-207.
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This article analyses the historical significance of the lesser-known German film Tobby (1961/62), a semi-documentary portrait of the Berlin jazz singer and percussionist Toby Fichelscher. Tobby focuses on Fichelscher's grappling with a tempting offer from the commercial music industry to go on tour playing Schlager (popular) music. It was the first feature film to be made by Hansjrgen Pohland, one of the signatories to the Oberhausen Manifesto of 1962, which is regarded as the founding moment of the Young, and later the New, German Cinema. The article explores how Pohland, an ardent jazz enthusiast, attempted to use a cinma-vrit style, which itself shares much with the aesthetic principles and ideology of jazz, to create a new type of cinema taking leave from the established commercial Papas Kino (`father's cinema') of the 1950s.
Hurley, A.W. 2010, 'A New Cultural Studies Analysis of West German Radio under Occupation (Review of Alexander Badenoch, Voices in Ruins: German Radio and National Reconstruction in the Wake of Total War. Basingstoke: Palgrave Macmillan, 2008. (February, 2010)', H-Net BOOK REVIEW..
Hurley, A.W. 2010, 'Joachim-Ernst Berendt and the (West) German Jazz und Lyrik Genre', Brilliant Corners: A Journal of Jazz & Literature, vol. 15, no. 1, pp. 58-81.
"Jazz und Lyrik" ("Jazz and Poetry"}1 in the German-speaking world has been documented for fifty years, with its boosters claiming that these pre-dated, or at least developed independently of, similar activities during the postwar American jazz scene (Berendt 1960a; "Probleme um Jazz und Lyrik"1964; Meifert 1999). Certainly the combination of jazz and poetry is one field in which German jazz advocates, critics, musicians, and listeners have had an abiding interest. The combination of the two genres fulfilled several important purposes in the early days, between the mid- 1950s and the mid-1960s. By associating jazz with an established art form (poetry), jazz stood to receive, by association, artistic integrity, something it lacked in the eyes of many, particularly older, postwar Germans. For Joachim-Ernst Berendt, a broadcaster, author, and producer (and its main proponent), appending words to jazz enabled him to stress a socially critical message and thereby impart a specific extra-musical meaning to jazz. Since the early recordings (1960-1964) focus on combinations of jazz and Gennan poetry, they participated in the "Germanizing" of jazz. This essay explains how and why Berendt attempted this hybrid, as well as how and why he maintained a distinction between German and American efforts.
Hurley, A.W. 2009, '"Tell you vot, baby: ze band voss svingkink und groovink!" Horst Liepolt and the Australian jazz boom of the 1970s', extempore, vol. 2, pp. 110-119.
I first heard ofHorst Liepolt when I read about him in the liner notes for Heading in theRightDirection, a compilation of 1970S' Australian soul, jazz and funk that was released in 1995.Horst, I read, had produced quite a few of the tunes on Heading in theRight Direction. I was taken by the music and it in turn, led me to other Australian jazz from the era of the LP-as were many 'dancefloor jazz' enthusiasts from around the world, who likewise set about trying to locate the original recordings. Although Heading in the RightDirection was compiled by two Australians-Melbourne's Johnny Topper and Takse-it was issued not only in Australia but also in the USA,and was very much the result of a more widespread renewed interest in soul jazz, particularly on the part ofyoung British and American DJs.
Hurley, A.W. 2009, 'Review of Henning Dedekind. Krautrock: Underground, LSD und kosmische Kuriere. Hfen: Koch International/Hannibal, 2008', Limbus: Australisches Jahrbuch fuer germanistische Literatur- und Kulturwissenschaft, vol. 2, pp. 296-298.
Hurley, A.W. 2009, 'Postnationalism, Postmodernism and the German Discourse(s) of Weltmusik', New Formations, vol. 66, no. 1, pp. 100-117.
Since the mid-1960s, just after the time at which Jameson posits the emergence of postmodernist aesthetics, German musicians and producers, operating in a range of fields of musical production from highbrow Ernste-Musik (serious music) to jazz and rock, have experimented with notions of Weltmusik (a term I will not translate since, in German discourses, Weltmusik has tended to signify western music in which various musical components are thought to synthesise into a whole, whereas the English term `world music' has often been used by the music industry as a marketing label to represent `authentic' musics from the margins).
Hurley, A.W. 2009, 'From Aboriginal Australia to German Autumn: on the West German reception of thirteen 'films from Black Australia'', Studies in Australasian Cinema, vol. 3, no. 3, pp. 251-263.
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This article examines some aspects of the West German reception of a series of Australian films about Aborigines including Peter Weir's The Last Wave (1977), Phillip Noyce's Backroads (1977) and Michael Edols' Lalai and Floating (1973 and 1975) which were shown in Germany and elsewhere in Europe in 1978 and 1979. It explains how these films came to be shown in Europe, how and why they caught the imagination of German reviewers and film-makers at the time, and how they themselves contributed to the begetting of several German films on Aboriginal themes including Nina Gladitz's documentary Das Uran gehrt der Regenbogenschlange (The Uranium Belongs to the Rainbow Serpent) (1979), Werner Herzog's Where the Green Ants Dream (1984) and Wim Wenders' Until the End of the World (1991).
Hurley, A.W. 2008, '"Jazz: The Australian Accent [Review]"', extempore, vol. 1:2008, no. 1, pp. 168-169.
Hurley, A.W. 2008, 'Beyond the Sakura Waltz: Reflections on the Encounter between German and Japanese Jazz, 1962-1985', Perfect beat, vol. 8, no. 4, pp. 25-43.
An historical study of the parallels between the German and Japanese jazz scenes and the interactions between the two between the 1960s and the 1980s
Hurley, A.W. 2008, 'Revisiting 'Nigger-Jew-Music': Jazz and the Tensions between Remembering and Forgetting the National Socialist Past', Limbus: Australian Yearbook of German Literary and..., vol. 1, pp. 115-133.
Hurley, A.W. 2008, 'Review of John Shand's Jazz: The Australian Accent', extempore, vol. 1, no. 1, pp. 168-169.
Hurley, A.W. 2008, 'Three Takes on Intercultural Film: Michael Edols' trilogy of Aboriginal films: Lalai Dreamtime; Floating, Like Wind Blow 'em About - This Time; and When the Snake Bites the Sun', Studies in Australasian Cinema, vol. 2, no. 1, pp. 73-93.
This article examines the innovative film-making approaches taken in Michael Edols' three films (Lalai Dreamtime; Floating, Like Wind Blow 'em About This Time; and When the Snake Bites the Sun), profiles their political, critical and popular reception (including amongst Aboriginal people and analyses the insights they afford into the disciplines of film-making, ethnography and into broader questions of intercultural dialogue. At a time of increased media and political interest in the plight of Aboriginal people in remote communities, they also contribute to our knowledge of the history of one such community.
Hurley, A.W. 2007, 'Whose Dreaming? Intercultural appropriation, representations of Aboriginality, and the process of filmmaking in Werner Herzoga's Where the Green Ants Dream', Studies in Australasian Cinema, vol. 1, no. 2, pp. 175-190.
In 1983, the German film-maker Werner Herzog realized a decade-long ambition to create a film thematizing the struggles of Aboriginal groups against mining companies in Northern Australia. Where the Green Ants Dream (1984) was ultimately reviled by Australian pundits and also disappointed international critics. However, the film and the story behind its making raise important issues, not only about the creative appropriation of Aboriginal mythology, and the filmic representation of Aboriginality and of the struggle for Aboriginal land rights, but also about the intricacies of cross-cultural collaboration. This article reveals how Herzog relied upon the first land rights court case (Milirrpum v Nabalco) in writing his film script. In doing so, he came up with a hybrid ambiguously situated between documentary and feature film, something which proved uncomfortable for the lead Aboriginal actors Wandjuk and Roy Marika, who had both been players in Milirrpum v Nabalco. This article analyses Herzog's mix of documentary and fiction, examines the film's receptionboth by white Australian critics and by Aboriginal Australiansand argues that, while the film may be flawed, it is valuable because it threw (and continues to throw) light on the processes and pitfalls of cross-cultural collaboration.
Hurley, A.W. 2007, 'Review of Pig City: From the Saints to Savage Garden, by Andrew Stafford', University of Melbourne Postgraduate Review, vol. 13, no. 1, pp. 32-32.
Hurley, A.W. 2007, 'Review of Axel Schildt and Detlef Siegfried (eds), Between Marx and Coca-Cola. Youth Cultures in Changing European Societies, 19601980 (New York and Oxford: Berghahn Books, 2006)', Journal of Contemporary European Studies, vol. 15, pp. 421-423.
Hurley, A.W. 2006, '"Music is an open sky": Horst Liepolt's contribution to Australian jazz', On-line publication, vol. NA, pp. 1-6.
Hurley, A.W. 2006, 'Summertime in Indonesia? The Indonesian Jazz All-Stars 1967 tour of Europe', Perfect Beat: The Pacific Journal of Research into Contemporary Music and Popular Culture, vol. 8, no. 1, pp. 3-21.
In late 1966, a group of Indonesian jazz musicians approached the energetic West-German broadcaster, writer and so-called 'jazz pope' Joachim-Ernst Berendt with the proposal that he assist them in mounting a tour of Europe. This tour represented what E. Taylor Atkins, a historian of Japanese jazz, calls a 'strategy of authentication', intended to secure the playing experience these musicians craved (2001: 12). It would be the first time that a group of Indonesian jazzmen perfonned on the international stage. As it transpired, their tour also generated an early instance of proto- 'world music'.
Hurley, A.W. 1996, 'Prospects of recovery in negligence and under statute for Creutzfeld-Jakob disease resulting from human pituitary gland derived hormone products', Tort Law Journal, vol. 4, no. 1, pp. 60-79.