Sam Whiting
Biographic Data
| ID | 3692799 |
|---|---|
| NAME | Sam Whiting |
| GIVEN NAMES | Sam |
| FAMILY NAME | Whiting |
| SIGNATURE | WHITING S |
| AFFILIATIONS | University of South Australia |
| ORCID | 0000-0003-2747-089X |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1996 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Basic income and the arts
Drawing on the growing popularity of Universal Basic Income (UBI), a basic income for artists (BIA) has been posited as a solution to the crisis of declining income and increased precarity amongst artists. As with UBI, the experience of quasi-unconditional cash transfers during the pandemic gave impetus to those who saw BIA as a viable way to provide income directly to precariously employed artists, while minimising the onerous and costly bureauc…
Do give up your day job
In the decade leading up to the Covid-19 pandemic, it seemed that Universal Basic Income (UBI) had burst through into the Overton window of acceptable ideas. The cultural sector suffered particularly harshly in the pandemic, yet in some countries parts of the sector were kept afloat by both cash transfers given to those affected by pandemic job losses, and by more targeted transfers aimed at the cultural sector. Consequently, many in the cultural…
Cultural labour, income support, and the welfare state
Cultural labour intersects with other forms of labour, such as immaterial and affective labour. However, it is distinct from these in its specific goal of producing ‘culture.’ Furthermore, the conditions necessary for cultural labour to thrive resemble that which Pierre Bourdieu referred to as skholè , unimpeded time to pursue one's work. Yet the problem of resourcing this labour and equitably funding it remains a unique issue. This paper will ex…
I’d Have to Be Crazy if I Did it Strictly on a Financial Basis”
Basic income for creative justice
The idea of a basic income has produced both staunch advocates and detractors in economic policy debates. This article explores the potential for a basic income to produce more just outcomes for workers in cultural sectors by focusing on a case study of music industries in Melbourne, Australia. We draw on data from a 2020 study of the impact of the COVID-19 pandemic and the associated public health response on the Melbourne music industries to ex…
‘Creative City’ R.I.P
The Creative City Unlike the terms ‘creative industries’, which nobody ever quite understood, and ‘creative class’, about which actual ‘creatives’ were always ambiguous, the ‘creative city’ has been an incredibly successful global policy meme, to which cities across the world continue to aspire. From the early 1990s, faced with de-industrialisation, rising unemployment, and the increased global mobility of capital, professionals, and consumer-tou…
The Value of Small Live Music Venues
Small live music venues rely on complex systems of cultural and social capital to bring revenue into each venue space. Although these intangible forms of value are quickly exchanged for economic capital over the bar or through the ticket vendor, their initial state conveys the intrinsic value of small venues as spaces of sociality and cultural production. Throughout this article I demonstrate the intrinsic value of small venues through an analysi…
The impact of Covid-19 on music venues in regional South Australia
As spaces of social, cultural and economic production, small regional music venues are an under-explored research area that can offer insights into changing music and performance practices, place-making, and the connections between urban and regional communities. Within the context of the COVID-19 crisis, the state of precarity in which such venues operate is emphasized and exacerbated. This article will present preliminary findings from our case…
If There Isn’t Skyscrapers, Don’t Play There!” Rock Music Scenes, Regional Touring, and Music Policy in Australia
Australia’s concentrated population presents particular challenges for touring music acts. The country’s capital cities are few, and the distance between these cities is not dotted with the type of vibrant regional music scene commonly found abroad. Yet due to an array of state and federal arts grants – all aiming to subsidisze music touring – many Australian inner-city acts venture out to these destinations hoping to find conductive performance …
We love the bands and we want to keep them on the walls’
Gig posters and flyers have remained a reliable means of promoting musical performances well into the digital age. Although the primary function of posters is publicity for both musical acts and venues alike, they are often retained as memorabilia of a performance long after the last note has rung out. They are, however, an under-examined aspect of popular music’s culture and heritage. While posters have been included as part of the material item…
An interview with Rebekah Duke
In this Riff article, Samuel Whiting speaks to live music advocate and Melbourne music industry professional Rebekah Duke. The interview focuses on the small live music venues of Melbourne’s inner-northern suburbs and the social scenes that inhabit them, exploring the role that these spaces play within the city’s broader live music scene in Australia’s cultural capital. The significance of these venues is reflected within Duke’s first-hand experi…
Erik Satie and Vincent Hyspa
Journal Article ERIK SATIE AND VINCENT HYSPA: NOTES ON A COLLABORATION Get access STEVEN MOORE WHITING STEVEN MOORE WHITING Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 77, Issue 1, February 1996, Pages 64–91, https://doi.org/10.1093/ml/77.1.64 Published: 01 February 1996
We love the bands and we want to keep them on the walls’
Gig posters and flyers have remained a reliable means of promoting musical performances well into the digital age. Although the primary function of posters is publicity for both musical acts and venues alike, they are often retained as memorabilia of a performance long after the last note has rung out. They are, however, an under-examined aspect of popular music’s culture and heritage. While posters have been included as part of the material item…
Basic income for creative justice
The idea of a basic income has produced both staunch advocates and detractors in economic policy debates. This article explores the potential for a basic income to produce more just outcomes for workers in cultural sectors by focusing on a case study of music industries in Melbourne, Australia. We draw on data from a 2020 study of the impact of the COVID-19 pandemic and the associated public health response on the Melbourne music industries to ex…
If There Isn’t Skyscrapers, Don’t Play There!” Rock Music Scenes, Regional Touring, and Music Policy in Australia
Australia’s concentrated population presents particular challenges for touring music acts. The country’s capital cities are few, and the distance between these cities is not dotted with the type of vibrant regional music scene commonly found abroad. Yet due to an array of state and federal arts grants – all aiming to subsidisze music touring – many Australian inner-city acts venture out to these destinations hoping to find conductive performance …
Erik Satie and Vincent Hyspa
Journal Article ERIK SATIE AND VINCENT HYSPA: NOTES ON A COLLABORATION Get access STEVEN MOORE WHITING STEVEN MOORE WHITING Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 77, Issue 1, February 1996, Pages 64–91, https://doi.org/10.1093/ml/77.1.64 Published: 01 February 1996
An interview with Rebekah Duke
In this Riff article, Samuel Whiting speaks to live music advocate and Melbourne music industry professional Rebekah Duke. The interview focuses on the small live music venues of Melbourne’s inner-northern suburbs and the social scenes that inhabit them, exploring the role that these spaces play within the city’s broader live music scene in Australia’s cultural capital. The significance of these venues is reflected within Duke’s first-hand experi…
We love the bands and we want to keep them on the walls’
Gig posters and flyers have remained a reliable means of promoting musical performances well into the digital age. Although the primary function of posters is publicity for both musical acts and venues alike, they are often retained as memorabilia of a performance long after the last note has rung out. They are, however, an under-examined aspect of popular music’s culture and heritage. While posters have been included as part of the material item…
If There Isn’t Skyscrapers, Don’t Play There!” Rock Music Scenes, Regional Touring, and Music Policy in Australia
Australia’s concentrated population presents particular challenges for touring music acts. The country’s capital cities are few, and the distance between these cities is not dotted with the type of vibrant regional music scene commonly found abroad. Yet due to an array of state and federal arts grants – all aiming to subsidisze music touring – many Australian inner-city acts venture out to these destinations hoping to find conductive performance …
The Value of Small Live Music Venues
Small live music venues rely on complex systems of cultural and social capital to bring revenue into each venue space. Although these intangible forms of value are quickly exchanged for economic capital over the bar or through the ticket vendor, their initial state conveys the intrinsic value of small venues as spaces of sociality and cultural production. Throughout this article I demonstrate the intrinsic value of small venues through an analysi…
The impact of Covid-19 on music venues in regional South Australia
As spaces of social, cultural and economic production, small regional music venues are an under-explored research area that can offer insights into changing music and performance practices, place-making, and the connections between urban and regional communities. Within the context of the COVID-19 crisis, the state of precarity in which such venues operate is emphasized and exacerbated. This article will present preliminary findings from our case…
‘Creative City’ R.I.P
The Creative City Unlike the terms ‘creative industries’, which nobody ever quite understood, and ‘creative class’, about which actual ‘creatives’ were always ambiguous, the ‘creative city’ has been an incredibly successful global policy meme, to which cities across the world continue to aspire. From the early 1990s, faced with de-industrialisation, rising unemployment, and the increased global mobility of capital, professionals, and consumer-tou…
Basic income for creative justice
The idea of a basic income has produced both staunch advocates and detractors in economic policy debates. This article explores the potential for a basic income to produce more just outcomes for workers in cultural sectors by focusing on a case study of music industries in Melbourne, Australia. We draw on data from a 2020 study of the impact of the COVID-19 pandemic and the associated public health response on the Melbourne music industries to ex…
Cultural labour, income support, and the welfare state
Cultural labour intersects with other forms of labour, such as immaterial and affective labour. However, it is distinct from these in its specific goal of producing ‘culture.’ Furthermore, the conditions necessary for cultural labour to thrive resemble that which Pierre Bourdieu referred to as skholè , unimpeded time to pursue one's work. Yet the problem of resourcing this labour and equitably funding it remains a unique issue. This paper will ex…
I’d Have to Be Crazy if I Did it Strictly on a Financial Basis”
Basic income and the arts
Drawing on the growing popularity of Universal Basic Income (UBI), a basic income for artists (BIA) has been posited as a solution to the crisis of declining income and increased precarity amongst artists. As with UBI, the experience of quasi-unconditional cash transfers during the pandemic gave impetus to those who saw BIA as a viable way to provide income directly to precariously employed artists, while minimising the onerous and costly bureauc…
Do give up your day job
In the decade leading up to the Covid-19 pandemic, it seemed that Universal Basic Income (UBI) had burst through into the Overton window of acceptable ideas. The cultural sector suffered particularly harshly in the pandemic, yet in some countries parts of the sector were kept afloat by both cash transfers given to those affected by pandemic job losses, and by more targeted transfers aimed at the cultural sector. Consequently, many in the cultural…
Cultural Industries and Urban Development (11 works) · Sociology (9 works) · Music History and Culture (7 works) · Art (4 works) · Media studies (4 works) · Political science (4 works) · Social and Cultural Dynamics (4 works) · Basic income (3 works) · Computer Science (3 works) · Visual arts (3 works)