How does the Australian 2011 Census relate to Public Relations?

Public relation practitioners utilise data (such as the Australian 2011 Census) to back up their campaign.

For example;
while promoting a local youth festival, I would first, look at the Australian Bureau of Statistics (ABS) site ( enquire how many youths reside in Wynnum (there are one thousand, four hundred and forty two youths between the ages of fifteen and twenty four) to decide whether the festival is viable.

I have broken up the ABS Service Charter ( into a (very) basic public relations strategy plan:

Key Messages
Assisting and encouraging informed decision making, researching and discussing within governments and the community.
To run a high quality, objective and responsive national statistical service.

Key Stakeholders
The Australian public, Governments and the ABS.

Primary Stakeholders
ABS, Governments and the Australian public.

Secondary Stakeholders
Individuals, organisations (public and private sectors), state and local governments, the federal government, employees of ABS, and community groups.

Organisational objectives
To accurately measure the number and certain key characteristics of people in Australia on Census Night and the dwellings in which they live.
To provide timely, high quality and relevant data for small geographic areas and small population groups, to complement the rich broad level data provided by ABS surveys.

Communication objectives
To be professional and courteous.
To explain clearly what information we need and how the statistics compiled from this information will be used.
To work with the public to resolve any difficulties caused by ABS requests for information.
To listen and respond quickly and fairly to any issues you may have.
To protect the secrecy of the information you provide, as required by statistics legislation.

The ABS is there to provide you and I with the facts to back up our arguments, like a public relations campaign or for a new day care centre (

Census information is used by all sections of the community, from federal, state and territory governments to town planners, community groups, students, large and small businesses, and more:
to estimate the population of each state, territory and local government area
to determine electoral boundaries and calculate the number of members to be elected to the House of Representatives from each state and self-governing territory
to determine the distribution of federal government funds to the states and territories
to show characteristics of Australia’s people and their housing within small geographic areas and for small population groups
to give governments and other users information they can use to support planning, administration, policy development and evaluation activities
to help plan basic services such as housing, social security, transport, education, industry, shops and hospitals.

The use of this information or data is reliable and will enhance any public relations campaign because any solid PR campaign includes data to support the claim of the campaign. “Without the data provided by research, practitioners can only claim they know the situation and can recommend a solution; they don’t have the figures to back up their claims” (Harrison, 2011). So it is with the utmost of care that the pr practitioner must include accurate data to support their exciting new campaign.

Australian Bureau of Statistics (2011). Service Charter: The relationship between the ABS and the Australian public. Retrieved from (
Australian Bureau of Statistics (2011). What is the Census? – details. Retrieved from
Australian Bureau of Statistics (2011). 2011 Census QuickStats: Wynnum. Retrieved from
Harrison, Kim (2011). Strategic Public Relations: A practical guide to success. South Yarra, Australia: palgrave MacMillan.

Celebrity in my household

My sons and I are often discussing the “in’s and out’s” of celebrity. This is due to a gluttonous devouring of all things media. We drink in radio, television, movies, music, newspapers, magazines and the internet.

We argue, we discuss and we enjoy. We argue vivaciously over the radio (I like triplej and mmm, my sons like nova), we fanatically discuss the latest Jack Black movie, and we enjoy together the daily(2012) Big Brother television programme. We are established celebrity consumers.

Therefore, as consumers of celebrities, my sons and I are participants in celebrity culture everyday. We celebrate celebrity. Wark (1999 33) explains;
We may not like the same celebrities, we may not like any of them at all, but it is the existence of a population of celebrities, about whom to disagree, that makes it possible to constitute a sense of belonging. Through celebrating (or deriding) celebrities it is possible to belong to something beyond the particular culture with which each of us might identify.
Simply, the existence of celebrity allows our household to relate (as individuals) to each other and constitutes a sense of belonging within our community. Our dislikes and likes are conversed so deeply, we allow ourselves to “read” the other person’s like (which we would never have read before).

The househould’s consumption of all things celebrity is daily and ongoing. While our consumption is sometimes excessive, the various genre’s of celebrity are communicated to each other. It is celebrity culture that divides us and brings us together.


Wark, McKenzie. Celebrities, culture and cyberspace:the light on the hill in a postmodern world. Sydney: Pluto Press, 1999. Print

Celebrity Feminism

There are various belief systems and styles within the genre of celebrity feminism. Jennifer Wicke splits feminism into two genres, materialist feminism and academic feminism. She believes that if you combine the two labels, you create celebrity feminism.
Celebrity feminism the mediated nimbus around academic feminism, is a new locus for feminist discourse, feminist politics, and feminist conflicts, both conflicts internal to feminism and feminism’s many struggles with antifeminist forces.
Every female struggles with various factors from life, weather they are celebrity, materialist or academic feminists.

Generally, audiences have negative and positive connotations on feminism and that is why celebrity feminists feel the urge to speak up. They want to display (Red Letter Press n.d. quoting Rebecca West) “the notion that women are people.” The celebrity feminist usually promotes basic human rights.

On their internet site, Zimbio (2012) have displayed contemporary feminist celebrities for their individual efforts in society. A revised list is as follows:
1. Ellen Page – played a pregnant teenager in the movie, Juno. She said, “I don’t love abortion but I want women to be able to choose.”
2. Reese Witherspoon – the global ambassador for ending domestic violence. She said, “Domestic violence is an issue that affects 1 in 3 women all over the world.”
3. Gabrielle Union – an advocate for Planned Parenthood. She said, “One in five women will visit a Planned Parenthood. We cannot eliminate the funding.”
4. Natalie Portman – her charity is lending money to small business in developing countries, specifically for women and young children.
5. Ellen De Generes – campaigner for civil rights, particularly same-sex marriage rights. She said, “Instead of showing your boobs, show people your brain.”
6. Geena Davis – head of the Geena Davis Institute on Gender and Media, the organisation does research on gender disparities for children.
7. Joan Jett – started the first all girl rock band. She said, “For some reason people are afraid of powerful women I don’t really get it.”
8. Joan Fonda – is calling for a feminist revolution. She said, “The opposite of patriarchy isn’t matriarchy. It is democracy.”
9. Angelina Jolie – a UNHCR Goodwill Ambassador. She said, “I think we all want justice and equality, a chance for a life with meaning.”
10. Tina Fey – created an entire new brand of feminism. She is paving the way for future women to be as powerful as they want.
11. Lady Gaga – has combined pop culture and feminism.
12. Ashley Judd – member of Women for Women International, Equality now, and the Leadership Council of the International Center for Research on Women.
13. Keira Kn’ightley – the spokesperson for Amnesty International and Women’s Aid. She said, “It seems that ‘human rights’ has become a bit of a loaded term in this country.”
14. Gabourey Sidibe – has only played heavy movie roles that are “gritty and honest.”

While this list is a frugal representation of celebrity feminism, it does display some of what contemporary celebrity feminists stand for. Celebrity feminists are females who have created their own world while trying to help their fellow man. It is the no-nonsense equality that celebrity feminists are fighting for.

“What is feminism?: Feminism 101.” Red Letter Press, n.p., n.d. Web.
Wicke, Jennifer Celebrity Material: Materialist Feminism and the Culture of Celebrity
“Celebrity Feminist Icons.” Zimbio, n.p., n.d. Web.

Jimmy Boyle: The criminal celebrity

In her book, Celebrity Culture and Crime, Ruth Penfold-Mounce (2009 82) states that;

Two central trends comprise celebrated criminality, of which the first is dominant: criminal-celebrities, who are individuals who have been convicted, or suspected, of crime and thus become celebrities;
and rogue celebrities, who are celebrities ‘gone wild’, becoming associated with or found guilt of crime or deviance.

This blog will discuss the the first form of celebrated criminality in relation to Scotsman Jimmy Boyle. In 1967, Boyle was convicted and sentenced for the murder of another gangland figure, William “Babs” Rooney.

Originally, Boyle’s notoriety was produced due to his purely criminal and violent nature. However, Boyle has altered his image to that of criminal hero status as he in now “straight”, and is a recognised sculptor and novelist. It is his ex-criminal status that has aided in his development of a sculptor and novelist. Penfold-Mounce (2009 86) continues;

Jimmy Boyle has increased his celebrated status by becoming a successful novelist and sculptor, whose work is valued at more than £10, 000 a piece. His dramatic shift from violent criminal to a husband, father and artist has provided a mediated success story of the rehabilitation of a criminal hero.

His rehabilitation and personal growth have enhanced Boyle’s possibilities of a respectable career.

It is Boyle’s past that has given him the content to produce his novels and artwork. Boyles works include(The Hardman by Tom McGrath and Jimmy Boyle): Gulliver (concrete sculpture), The Hardman (play), Pain of Confinement: Prison Diaries (novel), Hero of the Underworld (novel), and A Stolen Smile (novel). Without this “chequered past” Boyle would not be successful at his art and writing. Do you agree?

Boyle is the optimal example of celebrity criminal turned hero, while raising his status to that of an author and artist. The dramatic shift of his life, from cold-blooded- killer to Mr. Nice-Guy are the contributing factors to his fame. Additionally, it is his criminal nature that has aided in the creation of his famous works.


Penfold-Mounce, Ruth. Celebrity culture and crime: The joy of transgression. New York: Palgrave Macmillan, 2009. Print.
“The Hardman by Tom McGrath and Jimmy Boyle.” Scottish Theatres Consortium, Scotland, 2011. Web. (