<div dir="ltr">Dear colleagues,<div><br></div><div><i>*apologies for cross-posting* </i></div><div><div><br></div><div>I'm pleased to announce that a double issue of <i><span style="font-size:12.8px">Perfect Beat: The </span><span style="font-size:12.8px">Asia-Pacific</span><span style="font-size:12.8px"> Journal of Research into Contemporary Music and Popular Culture</span></i> has just been published. </div><div><br></div><div>We have a fascinating collection of articles and riffs (interview pieces) as well as book reviews and more. Just in time for your holiday reading! See below for the Table of Contents, and you can access the issue via this link: <a href="https://journals.equinoxpub.com/index.php/PB/issue/current">https://journals.equinoxpub.com/index.php/PB/issue/current </a></div><div><div>Please note that reviews are free to view, but articles require subscription access. </div><div><br></div><div>We are now seeking new submissions for publication in our 2016 issues. Please contact the Assistant Editor <a href="mailto:o.wilson@massey.ac.nz">Oli Wilson</a> if you would like to discuss your academic article, interview piece, or other kind of scholarship. </div><div><br></div><div>All the best for the coming holidays,</div><div>Shelley</div><div><br></div><div><span style="color:rgb(68,68,68)"><span style="font-family:'trebuchet ms',sans-serif"><font size="2">~~~~~~~~~~~~~~~~~</font><br><font size="1"><span style="color:rgb(0,0,0)"><b>Dr Shelley Brunt</b></span> <br></font></span></span><font size="1"><span style="color:rgb(68,68,68)"><span style="font-family:'trebuchet ms',sans-serif">Senior Lecturer in Music and Media | </span></span><span style="color:rgb(68,68,68)"><span style="font-family:'trebuchet ms',sans-serif">RMIT University<br>Editor | <a href="https://www.equinoxpub.com/journals/index.php/PB" target="_blank"><i>Perfect Beat </i></a>Journal<br></span></span><span style="color:rgb(68,68,68);font-family:'trebuchet ms',sans-serif">Mail: </span><span style="color:rgb(68,68,68)"><span style="font-family:'trebuchet ms',sans-serif">School of Media and Communication, RMIT University, GPO Box 2476, Melbourne, VIC, 3001 AUSTRALIA<br>Tel: +61 3 9925 3789 | Fax: +61 3 9925 3809 </span></span><span style="color:rgb(68,68,68)"><span style="font-family:'trebuchet ms',sans-serif">| </span></span><span style="font-family:'trebuchet ms',sans-serif;color:rgb(68,68,68)">CIRCOS provider code: 00122A</span></font><br></div><div><br></div><div><h4 class="" style="margin:0.75em 1em 0.25em 0em;font-family:Arial,Helvetica,sans-serif;font-weight:normal;font-size:1.4em;padding-top:0.75em;color:rgb(190,132,74);background-color:rgb(251,251,243)">Introduction</h4><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:17px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/29133" style="color:rgb(0,102,204);text-decoration:none">Introduction</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/29133/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/29133/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_open_medium.gif" alt="Open Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Shelley Brunt</a> , <a style="color:rgb(0,102,204)">Oli Wilson</a></td><td class="" style="text-align:right;vertical-align:top">5-7</td></tr></tbody></table><div class="" style="width:912.984px;margin-top:1em;margin-bottom:0.25em;padding:0px;border-bottom-width:1px;border-bottom-style:dotted;border-bottom-color:rgb(0,0,0);font-size:0.5em;line-height:2.25px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"></div><h4 class="" style="margin:0.75em 1em 0.25em 0em;font-family:Arial,Helvetica,sans-serif;font-weight:normal;font-size:1.4em;padding-top:0.75em;color:rgb(190,132,74);background-color:rgb(251,251,243)">Articles</h4><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:17px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/25727" style="color:rgb(0,102,204);text-decoration:none">Mutiny Music: A Sonic Passage Between Islands</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/25727/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/25727/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_restricted_medium.gif" alt="Restricted Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Joseph Cummins</a></td><td class="" style="text-align:right;vertical-align:top">9-28</td></tr></tbody></table><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:17px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/22321" style="color:rgb(0,102,204);text-decoration:none">Chamorro country songs: Cross-Cultural translation in post-World War II Chamorro music</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/22321/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/22321/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_restricted_medium.gif" alt="Restricted Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Michael Richard Clement Jr.</a></td><td class="" style="text-align:right;vertical-align:top">29-49</td></tr></tbody></table><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:17px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/19923" style="color:rgb(0,102,204);text-decoration:none">Tracing the lines of an electronic tattoo: The covert operation of Melbourne techno</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/19923/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/19923/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_restricted_medium.gif" alt="Restricted Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Botond Vitos</a></td><td class="" style="text-align:right;vertical-align:top">51-70</td></tr></tbody></table><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:17px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/23973" style="color:rgb(0,102,204);text-decoration:none">Liner notes: An exploration of local print music journalism in Perth’s indie pop/rock music industry</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/23973/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/23973/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_restricted_medium.gif" alt="Restricted Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Christina Ballico</a></td><td class="" style="text-align:right;vertical-align:top">71-86</td></tr></tbody></table><div class="" style="width:912.984px;margin-top:1em;margin-bottom:0.25em;padding:0px;border-bottom-width:1px;border-bottom-style:dotted;border-bottom-color:rgb(0,0,0);font-size:0.5em;line-height:2.25px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"></div><h4 class="" style="margin:0.75em 1em 0.25em 0em;font-family:Arial,Helvetica,sans-serif;font-weight:normal;font-size:1.4em;padding-top:0.75em;color:rgb(190,132,74);background-color:rgb(251,251,243)">Riffs</h4><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:30px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/28465" style="color:rgb(0,102,204);text-decoration:none">An interview with King Kapisi, Awanui Reeder and Ryan Monga: Riffing on Pacific festivals and the notion of 'Pacific music’</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/28465/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/28465/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_restricted_medium.gif" alt="Restricted Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Jared Mackley-Crump</a></td><td class="" style="text-align:right;vertical-align:top">87-99</td></tr></tbody></table><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:17px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/29125" style="color:rgb(0,102,204);text-decoration:none">An interview with Rev. Dennis Kamakahi: “Ka Manu” and conversations with the past</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/29125/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/29125/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_restricted_medium.gif" alt="Restricted Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Joseph Keola Donaghy</a></td><td class="" style="text-align:right;vertical-align:top">101-119</td></tr></tbody></table><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:17px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/28549" style="color:rgb(0,102,204);text-decoration:none">An interview with Rebekah Duke: Melbourne’s inner-northern live music venues and social scenes</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/28549/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/28549/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_restricted_medium.gif" alt="Restricted Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Samuel Charles Whiting</a></td><td class="" style="text-align:right;vertical-align:top">121-131</td></tr></tbody></table><div class="" style="width:912.984px;margin-top:1em;margin-bottom:0.25em;padding:0px;border-bottom-width:1px;border-bottom-style:dotted;border-bottom-color:rgb(0,0,0);font-size:0.5em;line-height:2.25px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"></div><h4 class="" style="margin:0.75em 1em 0.25em 0em;font-family:Arial,Helvetica,sans-serif;font-weight:normal;font-size:1.4em;padding-top:0.75em;color:rgb(190,132,74);background-color:rgb(251,251,243)">Reviews</h4><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:30px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/27669" style="color:rgb(0,102,204);text-decoration:none">Gelly, Dave. 2014. <i>An Unholy Row: Jazz in Britain and its Audience 1945–1960</i>. Sheffield: Equinox. ISBN 978-1-84553-712-8 (hbk). 167 pp</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/27669/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/27669/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_open_medium.gif" alt="Open Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Aleisha Ward</a></td><td class="" style="text-align:right;vertical-align:top">133-134</td></tr></tbody></table><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:30px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/27736" style="color:rgb(0,102,204);text-decoration:none">Stahl, Matt. 2013. <i>Unfree Masters: Recording Artists and the Politics of Work</i>. Durham, NC and London: Duke University Press. ISBN 978-0-82235-343-0 (pbk). 296 pp.</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/27736/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/27736/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_open_medium.gif" alt="Open Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Natalie Lewandowski</a></td><td class="" style="text-align:right;vertical-align:top">135-137</td></tr></tbody></table><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:30px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/28025" style="color:rgb(0,102,204);text-decoration:none">Kotarba, Joe, Bryce Merrill, J. Patrick Williams and Phillip Vannini. 2013. <i>Understanding Society through Popular Music</i>. 2nd ed. New York: Routledge. ISBN 978- 0415-64194-4 (hbk), ISBN 978-0415-64195-1 (pbk). 206 pp.</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/28025/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/28025/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_open_medium.gif" alt="Open Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Sarah Elizabeth Raine</a></td><td class="" style="text-align:right;vertical-align:top">138-140</td></tr></tbody></table><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:30px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/28230" style="color:rgb(0,102,204);text-decoration:none">Allen, Tony, with Michael Veal. 2013. <i>Tony Allen: An Autobiography of the Master Drummer of Afrobeat</i>. Durham, NC and London: Duke University Press. ISBN 978- 0-8223-5577-9 (pbk). 199 pp</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/28230/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/28230/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_open_medium.gif" alt="Open Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Kent Anthony Windress</a></td><td class="" style="text-align:right;vertical-align:top">141-143</td></tr></tbody></table><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:30px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/28403" style="color:rgb(0,102,204);text-decoration:none">Bennett, Andy, and Steve Waksman, eds. 2015. <i>The SAGE Handbook of Popular Music</i>. London: SAGE. ISBN 978-1-4462-1085-7 (hbk). 647 pp</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/28403/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/28403/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_open_medium.gif" alt="Open Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Åse Ottosson</a></td><td class="" style="text-align:right;vertical-align:top">144-147</td></tr></tbody></table><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:30px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/29134" style="color:rgb(0,102,204);text-decoration:none">Elliott, Richard. 2013. <i>Nina Simone</i>. Icons of Pop Music series. Sheffield: Equinox Publishing. ISBN 978-184553-988-7 (pbk). 168 pp</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/29134/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/29134/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_open_medium.gif" alt="Open Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Diane Hughes</a></td><td class="" style="text-align:right;vertical-align:top">148-149</td></tr></tbody></table><table class="" width="100%" style="border:0px;border-spacing:0px;font-size:12.8px;width:912px;color:rgb(51,51,51);font-family:Arial,Helvetica,sans-serif;background-color:rgb(251,251,243)"><tbody><tr valign="top"><td class="" style="width:637px;height:30px"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/28974" style="color:rgb(0,102,204);text-decoration:none">Music review: <i>In a State of Flux: An Experimental Music Gallery</i>, 18 September 2015. Creators: Chris Tonkin and Ashley Smith, with the UWA Young Artists</a></td><td class="" style="width:271px;text-align:right"><a href="https://journals.equinoxpub.com/index.php/PB/article/view/28974/html" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">HTML</a> <a href="https://journals.equinoxpub.com/index.php/PB/article/view/28974/pdf" class="" style="color:rgb(0,102,204);text-decoration:none;font-size:0.85em;text-transform:uppercase">PDF</a> <img class="" src="https://journals.equinoxpub.com/lib/pkp/templates/images/icons/fulltext_open_medium.gif" alt="Open Access" style="vertical-align: middle; margin: 0px; padding: 0px;"></td></tr><tr><td class="" style="padding-left:30px;font-style:italic;vertical-align:top"><a style="color:rgb(0,102,204)">Patricia Alessi</a></td><td class="" style="text-align:right;vertical-align:top">150-152</td></tr></tbody></table></div><div><br></div></div><div class="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><span style="color:rgb(68,68,68)"><span style="font-family:'trebuchet ms',sans-serif"><font size="2">~~~~~~~~~~~~~~~~~</font><br><font size="1"><span style="color:rgb(0,0,0)"><b>Dr Shelley Brunt</b></span> <br></font></span></span><font size="1"><span style="color:rgb(68,68,68)"><span style="font-family:'trebuchet ms',sans-serif"><span style="color:rgb(68,68,68)"><span style="font-family:'trebuchet ms',sans-serif">Senior Lecturer in Music and Media</span></span> | </span></span><span style="color:rgb(68,68,68)"><span style="font-family:'trebuchet ms',sans-serif"><span style="color:rgb(68,68,68)"><span style="font-family:'trebuchet ms',sans-serif">RMIT University</span></span><br>Editor | <a href="https://www.equinoxpub.com/journals/index.php/PB" target="_blank"><i>Perfect Beat </i></a>Journal<br></span></span><span style="color:rgb(68,68,68);font-family:'trebuchet ms',sans-serif">Mail: </span><span style="color:rgb(68,68,68)"><span style="font-family:'trebuchet ms',sans-serif">School of Media and Communication, RMIT University, GPO Box 2476, Melbourne, VIC, 3001 AUSTRALIA<br>Tel: +61 3 9925 3789 | Fax: +61 3 9925 3809 </span></span><span style="color:rgb(68,68,68)"><span style="font-family:'trebuchet ms',sans-serif"><span style="color:rgb(68,68,68)"><span style="font-family:'trebuchet ms',sans-serif"><span style="color:rgb(68,68,68)"><span style="font-family:'trebuchet ms',sans-serif">| </span></span></span></span></span></span><span style="font-family:'trebuchet ms',sans-serif;color:rgb(68,68,68)">CIRCOS provider code: 00122A</span></font></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div>
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