Author: Kiran Gupta

  • The ANZAC Spirit in 2020

    The ANZAC Spirit in 2020

    Kiran Gupta reflects upon the Anzac Day Address as well as discussing what ANZAC Day means in a contemporary Australian context.

    In this year’s ANZAC address, the Rev opened with a quote describing the “double duty of ANZAC Day [as honouring] the dead and inspir[ing] the living.” In the context of Australia’s history and commemoration of the day, this is a very important thing to consider. It is, of course, our duty to honour those that have come before us and who fought for a cause much greater than themselves. However, in doing this, we also acknowledge the values the ANZACs stood for, and what they mean in the context of contemporary Australian society. From this, we can determine how the ANZAC spirit lives on, not only in a commemorative sense, but also in the way that it inspires Australians. 

    The ANZAC legend is one that is an integral part of Australian culture and history. Whilst Remembrance Day provides a necessary opportunity to reflect upon all the lives lost on WW1, it could definitely be argued that ANZAC Day captures more public attention because of its inherent links to the construction of a Post-War national narrative. In recent years, there has also been a concerted effort to include all Australians in the commemoration of ANZAC Day. Although First Nations peoples were not considered citizens by the government at the time of the war and only received a fraction of the pay for service, it is estimated that over 1000 First Nations peoples volunteered to serve in WW1 and thousands more joined in WW2. For Colin Watego, as well as being a “healing time” and an opportunity to reflect on sacrifices of First Nations Veterans, it is an “opportunity to keep their legacy going through,” he said to ABC. When considering this, the importance of ANZAC Day to many parts of the Australian community can also be seen. 

    There has also been a greater push in recent years to recognise the ANZACs of Culturally and Linguistically Diverse Backgrounds, many of whom received gallantry awards during the war. The inclusivity that is being increasingly shown on ANZAC Day reflects the significance of this day for all Australians, regardless of their background and relationship to Australia. Former Race Discrimination Commissioner, Professor Tim Soutphommasane described this phenomenon as “as a touchstone of mateship.” He said, “when you adopt a national identity you inherit a tradition, with all the benefits and responsibilities that come with it. And one of those responsibilities is to remember.” This rings true for a vast majority of Australians.  

    I think this is a really interesting point. Personally, I have no direct connection to any ANZAC soldiers. My parents migrated to Australia long after the wars were over but even without direct ANZAC lineage, I still feel it important to commemorate the lives of the ANZACs and the values that they stood for. In his benediction, the Rev mentioned some of these values as “dignity, loyalty, honesty and fidelity.” These values are timeless and fundamental to the Australian and indeed, human spirit which is why I think ANZAC Day is so important to so many of us. 

    How these values manifest is a very interesting thing. This year, with the new challenge of commemoration whilst social distancing, the manifestation of these values was particularly poignant. At least in my community, many people stood on their balconies or in front of garages to lay out wreaths and light candles. Even in a time of extreme social distancing, it was quite incredible to see how we could commemorate the ANZAC spirit in a meaningful way, although physically separated. 

    So, what does this mean now? Even though Australia is a changed society, both demographically and culturally, the values of the ANZACs still ring true. The importance of loyalty and dignity, especially in a world that is changing at a frenetic pace, is absolutely paramount. On top of this and most importantly, ANZAC Day provides us with an opportunity to commemorate the sacrifices that those who have come before us and reflect on what it truly means to be an Australian in the 21st century. In doing so, we contribute to something that is larger than ourselves. The continual growth and development of the identity of Australia as a nation. As we spend ANZAC Day apart, that is something that we should certainly remember.

    Lest We Forget.



    Images: Pexels

  • Hamilton: The Musical That Changed The World

    Hamilton: The Musical That Changed The World

    Kiran Gupta reviews the production of Hamilton he saw in London in 2019 before looking ahead to the upcoming 2021 tour of Australia.

    The rich harmonies of “One Day More” from Les Miserables have captivated audiences of musical theatre fanatics and casual fans alike for many decades now. But the tide has changed and now, the poignancy of Alexander Hamilton, the right-hand man of George Washington rapping that he will “not giv[e] away [his] shot” sends a shiver up the spine. It is no longer the traditional megamusical that draws in the attention. That is now reserved for one musical only. Hamilton

    The news that the musical phenomenon Hamilton will arrive in Sydney in 2021 (although this might change now due to COVID-19) has shaken up musical theatre circles and arts fans all over the country. But before it comes down under, it has been entertaining audiences on the West End in London. Despite not being a “Hamilton fanatic” like so many (I hadn’t even listened to the soundtrack in full), last year, I decided that I had to see what the hype was all about. In a sense, I was almost expecting a let-down, but I was proved so very wrong with what was a tight performance of an incredible musical.

    One of the most frequently made points regarding Hamilton is the innovation with which it was composed. This is certainly true in the sense that the balance between rapping and singing is expertly handled, with the spoken word used to advance the story quickly in a more engaging way than simply dialogue. However, what makes the musical so accessible in spite of this difference is the fact that it adheres to all the other common tropes of a “megamusical.” It is entirely sung-through (if you count rap as singing), has a show-stopping cameo character, centres around the plight/story of a hero and after the war, ends on an emotional death. It actually bears a lot of resemblance to Les Miserables in this regard, simply updated for the times.

    This meant that there was less singing than in a traditional musical as the main plot of the story was expressed through rap. Creator Lin-Manuel Miranda used this medium as he thought it was an apt way of communicating the struggle that influenced the story so greatly. I saw a new musical called Madiba at the State theatre last year where this was a distinct problem. Rapping was used to substitute for poor songs and was quite frankly, bizarre. There was no feeling like this here. The two interacted symbiotically in a way that felt very natural. I would have liked to hear a little more singing at times but that said, the balance was pretty good.

    A (totally legal) photo I took from the bows.

    A (totally legal) photo I took from the bows.

    The cast was one of the most talented I have ever seen on a musical theatre stage. My excitement for the show only grew when I discovered that Rachelle Ann Go (of Miss Saigon fame) would be starring as Eliza Hamilton. The power and sheer beauty of her voice resonated through the theatre, delivering her trademark sound with grace. A vocalist with a tone so pure truly does lift the standard of any production. However, I have the feeling that our King George might have been an understudy performing his first show to the paying audience. Singing the iconic “You’ll Be Back”, he looked visibly nervous, stumbling over his lyrics in the chorus. Whilst this is a surprisingly common thing to occur when performing the flagship song in the musical (I’ve seen it happen many times on the professional stage and have done it myself), the visible nerves and the lack of conviction in the performance were not exceptionally professional. The nerves led to a lack of support on the top notes which meant they often cracked or were unsupported. Although this may sound minor, in a song of such repute and such a hyped show, these things certainly do not go unnoticed.

    The standout though was the lead Alexander Hamilton. The power with which he sung and rapped “My Shot” set the tone for the whole show and the dramatic energy carried throughout. The ability to sing, rap, dance and act simultaneously on the part of Hamilton was quite extraordinary and something to be marvelled at. 

    68672598_364357150911533_1058096860163473408_n.jpg

    Whilst I admit that I probably do not know enough about American history, the musical was adept in walking the audience through the story so as to not confuse. The plot follows the right hand man of George Washington, Alexander Hamilton, including his meeting with Aaron Burr and of course, George Washington before meeting the love of his life, Eliza Hamilton. Especially for a UK audience, this was certainly important as it provided context to an audience unaware of the story’s influence on American history and the birth of the contemporary capitalist system.. The costuming was also vivid and memorable. The choreography was tight and mostly seamless throughout as well. Whilst the set was modest, it was elaborate enough to not detract from the performance, and honestly, with such a strong company, the set did not really need to draw attention in the first place.

    Also worth a strong mention was the racial diversity of the cast. Most expectations of traditional casting were subverted through the casting of African-American males as George Washington and Alexander Hamilton. Hamilton’s wife, Eliza Hamilton was played as previously mentioned by Rachelle Ann Go, a Filipino theatre performer. By normalising racial equality in such a popular musical, the building blocks are formed towards the creation of substantive opposition to forms of racial discrimination traditionally seen in musical theatre casting. Indeed, the 1988 article in The New York Times, “NONTRADITIONAL CASTING; When Race and Sex Don’t Matter” outlines that “Non-traditional casting is actually realistic casting; minorities participate in all aspects of life. The stage is the Actor’s workplace.” Through the creation of an inclusive workplace, the equality that most theatre-goers want to see reflected is adequately addressed.

    Overall, even though I had to sink 200GBP for a ticket, the spectacle was well worth the price of admission. With the Australian tour set for 2021 in Sydney, we can only hope that casting for Australian show proves to be just as inspired as the UK production as this is a truly remarkable and unique show that should appease regular theatre-goers and casual fans alike.

    69011387_436071983663345_4965574092208996352_n.jpg


    Image: Kiran Gupta

  • Structures of Deviance and “The Other”

    Structures of Deviance and “The Other”

    Kiran Gupta discusses “moral blindness in an age of increasingly self-indulgent progressivism,” both in an attitudinal context and with regard to present day events such as the COVID-19 Pandemic.

    Society has arguably come a long way in the last century and even in the last few decades. From the removal of homosexuality of the WHO’s list of diseases, the passing of the Civil Rights Act in the U.S. and a concerted move towards substantive racial and gender equality through hashtivism (the #metoo and #blacklivesmatter movements are famous examples), it would seem as if society has come quite a way. It is beyond question that progress has been made, however, when considering progress on an attitudinal level, especially in the current climate of increasing panic and chaos, deeper reflection may beg the question: how far have we really come? 

    The often-prevailing response is to refer to phenomena such as hashtivism (hashtag movements that often double as a form of online activism) but there is something that must be noted very carefully when considering these movements. They are often one-dimensional, focussed on a singular issue and often with “tunnel vision.” Although this may not seem like a problem on the surface, such “tunnel vision” can often result in a ruthless exclusion of all other perspectives. In privileged Western society, there is often great peer pressure for young people to appear progressive or “woke” to demonstrate social engagement. However, the consequence of this is an increasing self-indulgence, where engagement with a form of oppression is either tokenistic or self-serving. This, in turn, leads to “moral blindness”, where in a singular pursuit of one form of equality, all others are excluded. In some ways, this is just as problematic as overt discrimination as it restricts any form of adequate discussion regarding progress and therefore, stifles any substantive movement towards genuine equality. 

    Boston University Gender Studies Professor, Lynn Hallstein notes that one of the main criticisms of second-wave feminism has been its lack of consideration and general apathy towards  intersectional perspectives. However, by isolating alleged lack of intersectional consideration to an outdated movement, it serves as a means for some sections of third-wave feminism (especially in the media) to address issues of intersectionality in a perfunctory way and demand for that to be accepted as “better than before” as it is being considered. Considering this, it can often be seen that the desire to seem woke and the necessity of privileging that above all else for social vanity can actually make discourse worse and have a chilling effect on substantive progress.  On race matters, for example, discussions are often hamstrung by participants feeling frightened or worried they’ll say something problematic. This has been termed “racial fragility” where any attempt to discuss a complex topic such as race in anything other than a normative discourse is met with defensiveness or, often, anger. 

    Through avoidance of meaningful discourse, stereotypes are spread and accepted as the norm. These stereotypes can undermine the very movements that purport to promote equality. For example, the problematic trope of the “angry African-American woman” is commonly used in mainstream media to undermine and devalue their perspective as overly emotional or “playing the victim.” This is a falsehood as it undermines the very notion of intersectionality and also, of feminism itself; when those stereotypes are validated and taken to represent all women, or all women of colour, fear-mongers are more easily able to “Other” those groups and belittle their demands. Author Chimamanda Ngozi Adichie is one of my favourite modern thinkers due to her direct but often perforating insights into gender and race. She has argued that while differences in the feminine experience and identity should be acknowledged, they should not be exclusionary in nature. Unfortunately, stereotypes such as “playing the victim” are inherently exclusionary in nature as they inaccurately corrupt the motivation of women’s struggle for equality, while also  dismissing the alternate feminine experiences of the search for equality. It fails to acknowledge that the fight for equality starts at different places for different people and that their reaction may be different. This is what must be considered in order to promote meaningful discourse. 

    When discussing stereotypes, it can be beneficial to consider their relationship to models of deviance. Stereotypes are often exaggerated caricatures which often signify an ideology which is difficult to translate into pure, simple meaning. This can mean they are often fantasies which reinforce normative standards and tropes of prejudicial discourse and “Othering.” Intersectional theorists have posited that stereotypes have contributed to the portrayal of vocal minorities as “deviant.” This is based on the notion that people who “deviate” from the accepted norm in society are often “othered” based on these characteristics. But does that mean that everyone is “othered” in society because everyone is, to some degree, “deviant?” The answer to that question is clearly no as it is often a question of degree and perception. When discussing the Adam Goodes saga, Waleed Aly correctly remarked that “it’s not as simple as it being about race [or any other minority status]. It’s about something else… the minute a minority – someone in a minority position acts as though they’re not a mere supplicant, then we lose our minds. And we say, ‘No, no you’ve got to get back in your box here’.” Through this, the model of deviance is clearly illustrated. Minorities often need to be silent. The moment an opinion is expressed, they cease to be a “mere supplicant” and another level of deviance is invoked. To this degree, it can be suggested that once multiple levels of deviance are invoked, anxieties and eventual “Othering” come to the forefront. And this is where the moral blindness kicks in. 

    This brings me onto a wider point about stereotypes and their relationship to deviance. Often, when someone wants to establish someone as “deviant” (generally for not being a “mere supplicant), they will invoke racialised stereotypes to establish them as “The Other.” By attempting to invoke common tropes often conveyed in mainstream media, the perpetrator tries to divide “The Other” from the group through the creation of an “us vs them” dichotomy which links the tropes back to mediated history and cultural perceptions. Unfortunately, in a lot of cases, these stereotypes are in fact successful in creating and alienating an “Other.” 

    It is also worth considering stereotypes with the example of Aziz Ansari. Ansari received widespread negative publicity because of an article accusing him of indecent conduct that was published on babe.net. The Ansari case was discussed in conjunction with the #metoo movement which has been incredibly beneficial in challenging patriarchal structures of power in society and especially in the entertainment industry. It has also forced a critical examination around the discourse of power and the normative behaviour of those who both seek and are the beneficiaries of it. By drawing attention to the Aziz Ansari case, I certainly do not intend to exonerate him of any of the conduct he is accused of. Nor do I want this to seem like apologism. I fully accept that the behaviour he is accused of is not acceptable and he should be held fully accountable for it. The issues I want to draw attention to are the underlying racialised stereotypes used to convey Ansari in the media as well as the differing level of scrutiny to which he was subjected.

    Ansari made history as the first South Asian to win an Emmy for acting in television. This was a huge achievement for the Asian acting community in Hollywood. However, the stereotypes in media coverage of the issue act towards invoking the stereotype of dark-skinned men as “sexually deviant and misogynistic,” or the even more racially-motivated stereotype of “the creep.”  This is problematic as stereotypes often “signify much larger ideologies than they originally purport” and this type of discourse often obscures meaning and fuels the fire of racism in discussion, whether it was intended or not. While The Atlantic’s piece on the issue, describing the original article as “3000 words of revenge porn” and “the hit squad of privileged young white women opening fire on brown-skinned men” may be too much, it does emphasise how the level of scrutiny afforded to Ansari was disproportionate with respect to other celebrities who have been involved with sexual misconduct. Johnny Depp has been repeatedly abused of assault and various forms of sexual abuse. His ex-wife Amber Heard even went so far as to say “I spoke up against sexual violence – and faced our culture’s wrath.” However, these accusations (of arguably even greater significance) received far less attention than those of Ansari. Whether Depp deserved to be held to a standard more relative to that of Ansari, or whether Ansari was held to an unjustifiably high standard, the fact still remains that the disproportionate amount of attention that Ansari received says a lot about stereotypes and, by extension, deviance in wider society. 

    In a time of increasing panic and chaos, with the rise of the COVID-19 coronavirus, these stereotypes have manifested even more overtly than usual through the treatment of people of Asian ethnicity all around the world. The heavily circulated video of a person allegedly in China eating a bat has caused widespread anger and disgust among certain media communities, perpetuating the stereotype that the virus has been caused by eating habits. However, this video was debunked as being filmed in Palau (a pacific island) in 2016 for a travel blog. This in itself, represents a moral blindness as it demonstrates a need for the media, even publications who appeal to young, “progressive” readers, to identify an “Other” even when there is no identifiable link. In fact, it could even be said that a number of media organisations have modelled the pandemic as a form of “deviance” on the part of China, which has led to a significant rise in racially fuelled attacks on Asians around the world. Miri Song, professor of sociology at the University of Kent, told TIME magazine that, “Whenever there’s some kind of major incident with global or regional implications, and as soon as you can identify it in relation to some racial ‘Other,’ particularly in predominantly white, multi-ethnic societies like England or the U.S., I think it’s very easy for people to use a very small excuse to start scapegoating on the basis of their appearance.” This nicely summarises the phenomenon. Once any form of “deviance,” in any shape or form, is uncovered, it is very easy for a group to be categorised as “The Other.” 

    However, this does not stop with the mainstream media. Although younger people often identify as more progressive, social media discourse, especially on micro-blogging sites such as Twitter, has become increasingly toxic towards people of Asian ethnicity. This can even be seen on accounts of people who clearly want to market themselves as “progressive,” using hateful language and stereotypes to target who they perceive to be “The Other.” This 900% increase in hate speech on Twitter has led to many counter-movements such as the hashtag, #iamnotavirus. However, this begs the question: is this new brand of progressivism that many people our age identify with inherently exclusionary in its nature? 

    While stereotypes are often a way to visibly recognise moral blindness, it can also surface through hatred and difference of opinion on morally complex issues. To bring forward an example, consider the debates about gay marriage. For myself and the majority of Australia, it was beyond question that marriage equality was just, necessary and long overdue. However, there was debate about whether changes should be made to the perceived “sanctity of marriage.” A leading argument was that whether one personally agrees or disagrees with the practice of gay marriage should be irrelevant in allowing others to officially tie the knot. Although later than many other countries, I and a majority of the Australian public were glad to see that equality of marriage has finally been afforded to everyone, regardless of sexuality. However, although it seemed like the overwhelming public consensus was for a “yes” vote, there was a 38.4% no vote (nearly 5 million people).  

    Whether a “no” vote in itself constitutes a moral blindness is up for debate (and well beyond the scope of this article), but looking beyond that, a fundamental question must be raised as to whether it is reasonable to persecute someone for expressing their view in a votable issue, no matter what the perceived moral deficiency may be. News.com.au reported that a man of Asian origin was peacefully putting up “it’s ok to vote no” posters when a young same-sex marriage supporter said on video to “Go back to la la la la la Arabland … you want to change our country, go change your own f***d up country get the f**k out of ours.” When asked about her racist abuse, the man told news.com.au that “Even though I’m born here and raised here … apparently I should go back there .” This is another example of the “deviance” phenomenon. As a no-voter, who was also Asian and no longer a “mere supplicant,” the man was very easily identifiable as “The Other” through his multiple levels of “deviance from the norm.” Whether voting against same-sex marriage qualifies as moral blindess is another matter (in essence, the matter being voted on). However with nearly 5 million people voting against, to viciously use a person’s ethnic background to make a point about equality undermines its very premise. 

    Moral blindness is an interesting concept. Many young people identify as much more progressive than their predecessors. But is their progressivism inherently exclusionary when it only seeks (consciously or otherwise) to reinforce current social institutions and “other” those who they perceive to be as deviant? Is that truly progressive? Moral blindness is not something that is going away any time soon, especially with COVID-19 only just beginning to wreak havoc around the globe but as citizens of an increasingly globalised world, there is an argument that one should often consider the reason behind their decisions. What their decision may be is largely futile to this degree. But how and why they come to the conclusion, that is what says a lot.  



    Images: Pexels

  • Australian Football’s Problem with Blue Players

    Australian Football’s Problem with Blue Players

    George Bright analyses the psychology behind football and the effect on Australia’s football culture.

    Since the apogee of the Socceroos at the 2015 Asian Cup, Australia’s progress towards consistently becoming genuine contenders at the international level has seemingly stagnated. After unforgettably qualifying for the 2006 World Cup at expense of Uruguay, 13 of Australia’s 23 man playing squad were participating in one of Europe’s top 4 leagues. By 2018 that number had dropped to just three in Mat Ryan, Aaron Mooy and Matt Leckie. So, what has changed? There are, of course, countless factors that contribute to success in sport and the influence of chance should not be discredited. Short of striking the generational talent jackpot though, what is it that distinguishes that cohort from our current crop of stars on the pitch? One component of the answer may be best exemplified by a small club from rural Denmark, FC Midtjylland.  

    FC Midtjylland are probably most remembered for their 2-1 thrashing of Manchester United in the 2016 Europa League round of 32 (though they were eventually defeated 6-3 on aggregate). For close observers though, their presence in the competition was noteworthy even in itself. After being founded in 1999, the young club have made a name for themselves through their analytics-based approach to football which paid dividends after they won their first title in 2015. It is their unique personality test though that may help to explain Australia’s current decline. 

    Although often maligned, personality tests of one description or another are commonplace among many top clubs in world football. FC Midtjylland’s tests, delivered to all staff and players, score participants into four broad categories giving them an overall direction as to which one they best fit into. The four categories are simply titled Red, Blue, Green and Yellow. Of course, everyone has some blend of each, there is no one who fits solely in one category. The test is designed to be used as a descriptive measure rather than a pigeon-hole perspective of a person. It gives players a better understanding of both their own and their teammates tendencies and communication styles, allowing players to recognise potential strengths and weaknesses associated with their character. Senior player Tim Sparv describes this in an interview with thesetpieces.com reflecting thatthe blue colour is someone who is very systematic, very disciplined, a reflective person … the more negative side is that [the blue personality] is a little bit unapproachable. On a bad day he can be a bit stubborn, a bit sceptical”.   

    (Extracted from Christoph Biermann’s excellent Football Hackers: The Science and Art of a Data Revolution)

    (Extracted from Christoph Biermann’s excellent Football Hackers: The Science and Art of a Data Revolution)

    When assessing why Australia is not excelling as a footballing nation a few things become immediately clear. Firstly, Australians are not physically outmatched. There is no suggestion that fitness, speed or strength are qualities lacked by Australian players and with access to some of the best strength and conditioning coaches and facilities in the world, along with ever continuing improvements in the field, the source of our underperformance must be found elsewhere. 

    The next obvious point is that although football is not at the forefront of most Australian sporting fans minds, the pool of selection is far from shallow. Australia’s pathways to elite performance may be flawed (a topic which may be explored another day) but there are still over half a million registered outdoor football players in Australia, with the FFA estimating a total of 1.8 million people participating in football in some capacity. Comparatively, that’s roughly the same amount of people playing football in Australia as there are men living in Uruguay.

     That leaves the technical and cognitive sides of the game as the areas where Australian players could be lacking. Technically; it seems flawed to claim that players who train almost every day of the week through much of their childhood and most of their professional lives could fail to reach the same standard as their peers around the world simply due to geography. This is where FC Midtjylland’s personality test may be a useful tool to apply. Australia is producing too many “Blue” players. 

     Crucially, it’s not just that there are too many Blue players but that there is a dearth of creative problem solvers playing top level football. This was especially noticeable at the 2018 World Cup where Australia failed to score a single goal from open play and registered only 2.13 non-penalty xG according to InfoGol’s stats. There were some signs of encouragement though. The inclusion of Dimi Petratos in the squad was a sign that the creative playmaker has not gone extinct in the A-league and Daniel Arzani might be the brightest young talent since Harry Kewell. 

     Some may point to the introduction of the A-league as the point where Australia’s performance began to decline. There may be some merit in that, as the birth of the ‘golden generation’ dates back to the days of the NSL. Since the A-league’s inception a host of overseas players such as Alessandro Del Piero and Miloš Ninković have been brought in to woo crowds and seemingly shortcut our lack of creative quality domestically. Others will point to the FFA’s management of grassroots football, or the “win now” culture of youth sport. Some may even claim there is no issue with the players Australia is currently producing but they have simply lacked the right manager to get the best of them. As with most things, the truth is probably somewhere in the middle. Regardless of where you stand, it is clear Australian football needs a creative change. 


  • Coronavirus stops play: does the pandemic emphasise the dire need for unionisation in sport?

    Coronavirus stops play: does the pandemic emphasise the dire need for unionisation in sport?

    Kiran Gupta explores the benefits of unionisation in sport, especially in light of freak world events such as the spread of COVID-19.

    Coronavirus is playing out differently day by day. It seems like news is breaking every second and the outlook is becoming increasingly pessimistic. The outbreak has affected many different groups in many ways. Just last week, the ATP and WTA (male and female tennis tours) have postponed two of the biggest tournaments of the year, Indian Wells and Miami and the entire tour has been suspended for six weeks. This means no source of income for players for a significant chunk of the year. 

    This poses a few interesting questions. We have seen all around the world that the gig industry is in turmoil, musicians are cancelling gigs, casual academics and tutors are losing work, not to mention the amount of other casual employees who just don’t have people to service. Tennis is no exception to this. Team sports are a slightly different case. Take cricket for example. The top players are centrally contracted to their countries, which means that, although there may be some alterations (I’m not a lawyer and don’t have the details of the contracts), they will still be relatively secure financially in a freak circumstance like this. This is the case for most team sports. 

    Tennis is very different. Although the tournaments and the tours are governed by organisational bodies such as the ATP, the WTA and the ITF (International Tennis Federation), the players are not contracted to these organisations which means they are essentially independent contractors. The practical reasons for this make sense, it means that their finances are governed by their results. If they win the tournament, they make a lot of money. If they lose in the first round, they make less. 

    However, problems have emerged in this model over the last couple of years. Tennis stars, Andy Roddick and Novak Djokovic have noted that the tours have to serve both the players and the tournament operators at the same time. This creates a clear conflict of interest and of duty. This was evident earlier in the year with the bushfires that swept over Australia during the Australian Open. British tennis player, Liam Broady, accused officials of treating players “worse than animals” after forcing players to play their matches against medical advice in Melbourne, insisting that people stayed at home. This had grave consequences for players including Dalila Jakupovic, who had to abandon her match after suffering an intense coughing fit. 

    After these events, and numerous players calling to shorten the season, many players called for a union to represent the player’s interests and concerns. These players included Novak Djokovic and Vasek Pospisil, who noted that male and female tennis players only receive 7% each of Grand Slam revenue. A union would provide the players the ability to negotiate pay increases, better accommodation and player-friendly schedules. 

    However, with the rise of COVID-19, this has taken on a different dimension. With players out of a job for at least six weeks (probably longer), they are looking at a significant chunk of earning being lost including for many, during the peak of their career. A lot of players are setting themselves up for life and are providing for their family so to have a huge chunk of earning in the peak of their career lost could be life-shattering. They also need to keep training, so need to continue to pay coaches and support staff even though money is drying up for them. 

    It is estimated that only the top 150 singles players in the world break even at the best of times, when the cost of flights, accommodation and support staff are factored in. With a catastrophic loss of play like this, that figure will be significantly lower. Players could lose their world rankings, they may not be able to afford to pay coaches anymore. This will create a downward spiral that could be impossible to stop. 

    The only solution to something like this is unionisation. Deakin Business School Sports Management Lecturer Dr Michael Naraine has said that, “the impact on tennis could be huge. If tennis players were able to unionise and speak with one voice, they could have much more power to influence issues [in the sport].” Although a pandemic like this is unprecedented, it has exposed the need for players to be protected in the case of something going very wrong. Whether it is on an individual or a global scale such as here, players do need some form of protection in the height of their careers, especially when they are making such big investments in themselves. 

     At the end of the day, players have been arguing for a union for a very long time. Whether it is a top singles player like Novak Djokovic, a top doubles player like Jamie Murray or a lower-ranked player such as Noah Rubin, there is an overwhelming consensus that things need to change. It might have taken a pandemic to make that clear to the wider public, but COVID-19 has exposed some fundamental problems in the system that need to be addressed. There is now a dire need to protect players from something like this. And this is the way to do it. 



    Image: Pexels

  • Pandemic Panic: How fear brings out prejudice

    Pandemic Panic: How fear brings out prejudice

    Kiran Gupta unpacks the global panic surrounding the COVID-19 Coronavirus and looks at the implications of mainstream and social media coverage on the virus and its impact.

    It is becoming increasingly inevitable that the COVID-19 Coronavirus is going to spread all over the world and at some pace. A significant number of people will die from the illness and it will likely cause a shift in the way we go about our daily lives (at least, in the short-term). Without a doubt, this is a scary thing to grapple with. However, both traditional and social media discourse over the past few months have tended to establish a difference. An us v them dichotomy. An “Other.” As the virus has spread, the goal posts have shifted. It has become less about bringing the virus to Australia but rather how the virus started. When the focus of the story and the discourse changes this frequently, it becomes increasingly clear how, in times of fear and panic, prejudice often prevails. 

    Journalism scholars frequently discuss the value of conflict in news media. Harcup and O’Neill said in 2017, that conflict was one of the key values to news in the modern world. In this case, although there is no physical conflict, we still see conflict created through the constructed “Other.” The numerous theories posited online of the origins of the coronavirus (including legitimate claims by reputable organisations) all construct a world that is seemingly so different to that of Australia, from the theories of animal to human contact to bioweapon theories. Most things presented in the media seem so foreign to us that it immediately establishes an “Other.” The frequent discussion regarding international students and the travel ban also contributes to this effect. The us vs them dichotomy that is created fuels racial tensions and prejudices even when it is totally unnecessary and indeed, unproductive. 

    This is not to discount some of the work done by sections of the media. It is very difficult to report crises in an unemotional and unbiased way, especially when conflict sells so well. A number of Australian newspapers have walked that tightrope reasonably well, with only occasional slip-ups in this area. However, even the subtly discriminatory discourse that has permeated the media throughout the last few months has been amplified on social media, which is much less restricted and easier to spread hate and prejudice. 

    Social media is a valuable platform for a lot of groups. Due to its inherent spreadability and shareability, it is a platform where everyone has the chance to tell the story, to voice diverse opinions and to present counter-narratives to the dominant structures of hegemonic media power. That said, this also allows fringe voices and explicit hate speech to rise to the forefront in a way that probably wouldn’t be allowed in mainstream media. This means that any sentiment of prejudice or hate expressed by mainstream media will be amplified on social media. 

    This can most obviously be seen through the Anti-Asian sentiment expressed on social media as a result of the coronavirus spreading. Scholars have termed this phenomenon “platformed racism” as it inherently creates an “Other”, both at a bureaucratic and at a participatory level. 

    Even before social media, we have seen this phenomenon. Minority groups have often been held responsible for global outbreaks. The British Science Museum says that “marginal groups, minorities and the poor have been common targets [of pandemic panic]. Jews were widely blamed for the Black Death and immigrant Irish workers held responsible for cholera.” Historically, the “Other” is often held responsible because fear creates panic which creates division. While blame may not be an effective strategy, it is often deployed for clicks or division. By doing this, hegemonic structures of power in society are reinforced and it is very difficult to break the cycle. 

    Social media is also responsible for the spread of misinformation and disinformation that can promote fear and prejudice. A video of a person allegedly in China eating what seemed to be a bat soup has been debunked as being filmed in Palau (a pacific island) in 2016 for a travel blog. Yet this video spread very quickly on social media and went viral across a number of platforms, contributing to pre-existing racist sentiments and perpetuating the view that the virus was caused by people eating animals such as bats. From this, it is very clear to see how quickly misinformation can spread and just how damaging it can be for panic and prejudice.

    The point of writing this article is not to criticise the media. As I said earlier, I think that some sections of the media have made quite an effort to ensure fair and unbiased reporting of what is, undoubtedly, a very difficult subject, especially in a time of panic. However, it is important we all recognise the impact of social media and especially, how quickly hate speech and misinformation can spread. It is a scary time, however, the sooner that we can address the prejudices that creep in during times of panic, the sooner we can start to put forward a meaningful response. 



    Image: Pexels

  • Blurring the Lines of Musical Ethics and Law

    Blurring the Lines of Musical Ethics and Law

    In 2013, “Blurred Lines” took the music world by storm.

    Robin Thicke, Pharrell Williams and T.I. leaped to the top of the charts with the catchy, “throwback” song and the intrigue of their provocative (and indeed, deeply misogynistic) video. But after basking in the success of a song that would last them a lifetime financially, they made the decision to take the estate of Marvin Gaye to court after a licensing dispute. The crux of the court debate hinged on the premise that “Blurred Lines” was “substantially similar” to Marvin Gaye’s “Got to Give it Up.”

    After a long trial, it was eventually ascertained by jury that there was a “substantial similarity” between the two songs and over $7.4 million dollars in damages and profits were awarded. Although specific reasoning for the decision is unavailable as it was decided by jury, many musicologists and legal experts have suggested from the admitted evidence and judgements that the case essentially came down to a similarity of “vibe” above all else. Musicologist Robert Fink said that the verdict could set precedent for “fencing off our shared heritage of sounds, grooves, vibes, tunes, and feels.”

    Expert witness for the Gaye estate, Professor Ingrid Monson, raised an interesting point about the admissibility of evidence in the trial. The recordings of the songs were not admissible as the  Copyright Act 1909 in the U.S. only allowed for the musically notated copyright deposit to be presented rather than the copyright in the recording itself. What this essentially meant was that only the lead sheet (with the basic chords and melody) was allowed to be viewed. As the piece (and a lot of African American music) was composed aurally, she raised the point that this did not give a holistic comprehension of the work and in a sense, prejudiced aurally composed (often African- American) music. Although the admissibility of evidence is intrinsically linked to the debate and the relationship between race, music and the law is fascinating, it is far too complex a topic to broach in a single article, and therefore, will not be discussed at length.  

    What is equally pertinent is the ethics of such a judgement. It has been established by barrister Robert Yezerski and solicitor Andrew Cameron among others that the case would have been decided differently in Australia. The most recent case law in Australia comes from EMI Songs Australia Pty Ltd v Larrikin Music Publishing Pty Ltd. Here, it was alleged that Men at Work’s “Down Under” had infringed the copyright of the iconic “Kookaburra Sits in the Old Gum Tree.” There was a relatively simple two-step process followed by the courts. Rather than the “vibe” test in the U.S., the Australian test was much more focussed on a micro level:

    1. The objective similarity of the works and a causal connection between the two works to establish copyright infringement.

    2. The analysis of specific musical features to subjectively ascertain whether the work was copied or not.

    It was established that “Down Under” clearly used two bars of “Kookaburra,” after specific analysis of musical features. However, as the “Blurred Lines” case had much less clear and substantive evidence of infringement on a micro level (through isolated and holistic analysis of specific musical features), there is at least some sense in legal circles that the case would be decided differently in Australia. The question to be answered here is whether the micro (specific musical features) analysis or the macro (“vibe”) analysis is preferable from an ethical standpoint, if either are wholly valid.

    When considering the micro view, there is certainly some merit. By copying a substantive and recognisable part of a well-known melody without consent, it could be argued that it draws an association to the audience which is not there, borrowing upon an existing fan-base that may not necessarily be earned. However, the counter-argument is that music is built upon by new composers. With only twelve notes in the Western music system, there is always going to be a certain amount of overlap. When considering what a recognisable motif or musical feature is, there is always going to be some ambiguity at where the line is drawn.

    There is a possibility that a ruling like the “Down Under” ruling in Australia could create a situation where composers are hamstrung for not being able to use recognisable patterns in their music. This is why the distinction between a specific musical features and a generic compositional technique must be distinguished. If the motif is simply a staple of a musical genre to the point that it is considered “generic” then this test will not impede creativity. However, if another part of a work is directly lifted like in the “Down Under” case, then the composers are protected. It should also be noted that the process of “sampling” allows this legally, where the composers will talk with the licensees of the work they are “borrowing” from and come to a royalty arrangement. This is perfectly fine. However, if this is done without prior consent, the law will and should provide some protection.

    The US system of law is a lot murkier. Although I accept that Monson’s analysis of the similarities between “Blurred Lines” and “Got to Give it Up” is a lot more complex than this alone, one of the points I found interesting was regarding the bassline. She said that the “bass line had a stop and start rhythmic profile that was related to Motown but not like that of a generically expected Motown bassline… in neither reggae nor Motown would you expect to find these two rhythms combined… what made the copying… so striking was its combination of musical similarities.” This begs the question of whether an interesting and unusual application of style should constitute a copyright infringement in the eyes of the law.

    To me, this is the crux of the argument. Style is one of the fundamental musical elements that composers have built off for centuries. If interesting or unusual applications of style restrict the composer’s ability to create and shape new works, then creativity in the music industry will cease to exist. Often it is the way that composers adapt and build upon style that creates magic in the music. To deprive the music industry of this is hamstringing composers and watering down popular music and all innovation in it. If we establish that the quasi-chromatic pattern on “you’re an animal” is an infringement of copyright, it would change the process of song writing so drastically as to be structured to avoid litigation. Pharrell Williams testified that 70s music and Marvin Gaye was part of his childhood musical milieu. Should this really be inherently actionable?

    If it comes down to a question of the effectiveness of the Australian and US methods, I would say that the Australian method is a lot more useful. It provides adequate protection for composers from intellectual property theft, but it does not narrow the scope of musical creativity to a threshold so low that composers will be constantly concerned of litigation in the way that the US method could allow. This is not the way the law should be, and this is not the way music should be. Williams warned of the chilling implications of the “Blurred Lines” ruling when he said, “The verdict handicaps any creator out there who is making something that might be inspired by something else.” This is something that all musicians and all fans of music need to grapple with.



    Image: Pexels

  • College – a new perspective

    College – a new perspective

    The practices and even placement of colleges on university land has polarised wider media for many decades. Most people will already have a fairly fixed view on the colleges at the University of Sydney. While it is not my place to even attempt to change that, I believe that there is a story that is often left out of typical media discourse which I want to share.

    I was lucky enough to be offered a place at St Andrews College with a generous music scholarship. Yet, leading up to my arrival, I was remarkably nervous. I had extensively read literature such as the Broderick Report and the Red Zone Report. As a person of colour who does not drink alcohol and certainly doesn’t conform to the “alpha-male” stereotype in any way, I had a strong contingency plan in place. The moment anything becomes too much, leave and never go back. College can be many things for many people but for me, it has been a place of welcome and a source of community I had never envisaged becoming a part of.

    The notion of community is often overlooked when considering college life. A cursory glance at unofficial pages on social media such as “USYD Rants” on Facebook suggests that there are many people who feel isolated, distant or indeed alienated during their time at University. I have found that a collegiate setting generally unifies people by providing exactly that, a strong sense of community. RMIT University recently conducted a study called “The Belonging Project” which discussed ideas of belonging and inclusivity regardless of racial background, gender or sexuality among other things. Noting that a need to belong is an “innate evolutionary drive,” the “perceived social support on campus, a feeling… of connectedness and the experience of feeling cared about” were key elements to creating such a sense of belonging. This is one of the most attractive things about college that I never expected. The social support that any one student can receive from their cohort is unparalleled and is truly something to cherish.

    When I first came to college, I was a little worried about the fact that I could not drink alcohol. When considering the strong peer pressure that often accompanies the consumption of alcohol, I considered these worries to be well-founded. Thankfully, none of this was the case. My mentor during “Welcome Week” (also a non-drinker) assured me from day one that no-one would judge me and that is something that I very much appreciate.

    This brings me on to a wider point about equality. In Australian society at the moment, we are seeing a great deal of division, often exacerbated by the media. The vitriolic hate that often accompanies this division can, in return, trigger a vicious cycle where minorities are “othered” and feel alienated from wider society. Even at university, a brief analysis of social media discourse reveals an “us vs them” dichotomy that is placed upon various social and cultural groups at the university. This is something that both worries and simultaneously frustrates me.

    This is probably the most enlightening and indeed inspiring thing about collegiate life, especially at Drew’s. There is great diversity in the backgrounds of my cohort and my friends in a multitude of different ways. While this may be something to distinguish us, it certainly does not divide us and that is very powerful. As many people of colour will say, it is a rare privilege to not feel race, be it through overt discrimination, subtle comments or even a suspicious glance that creates tension. In my opinion, to not feel or perceive difference is a true hallmark of substantive equality. Although I have no intention to speak for or conglomerate the lived experiences of others, I can safely say that, personally, I have rarely experienced an environment as divorced from prejudice or division as Drew’s. From the interview to day one of Welcome Week, it was made abundantly clear that this was a place of equality and inclusivity. I know the College prides itself on a 50/50 gender split and its rural intake and I think the framework they have put in place has truly allowed residents to foster a system of equality to the point where it is only of vague consciousness. While it is a given that there will be occasion prejudice encountered in any walk of life, when such prejudice is isolated and frowned upon in a community, it is one of the most effective ways of wiping it out. Many communities would be well-placed to take a leaf out of the Drew’s book when it comes to promoting inclusivity.

    So, looking back on that first day, do I think I made the right decision? To me, it’s a simple answer. College life has not been what I have imagined, that’s for sure. But, notwithstanding the opportunities that it provides, it has given me the opportunity to be a part of a strongly bonded community with genuinely substantive equality. Through such equality, I have also had the chance to experience completely different perspectives, on subject matter I would have never even considered before coming to college. That kind of growth and that kind of a community, you cannot put a price on.