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LSHA May Be Looking to Sell
1 TUESDAY, OCTOBER 15, 2013 | YOUR COMMUNITY NEWSPAPER SINCE 1874 | 75¢ Lake City Reporter LAKECITYREPORTER.COM LSHA may be looking to sell in order to remove the burden of funding people of Columbia County, be on indigent care. If the Affordable Care Hospital authority says indigent care from the taxpayers. and we’re not elected. ... Act works the way it should, everyone should it will consider seeking The authority did not make any decisions It’s time that we get out of be covered by an insurance agency. about the sale during its October meeting, the business.” “I think the time has arrived in the medi- a buyer for Lake Shore. but did suggest bringing in a consultant to Currently, the Hospital cal industry for the taxpayers to seriously By AMANDA WILLIAMSON discuss how to handle the process. Authority covers the care consider getting out of the healthcare busi- [email protected] “I think that the hospital authority has for indigent patients at ness,” Barry said. “With the purchase of really outlived its usefulness,” said author- Berry Shands Lake Shore Regional HMA to CHS coming up the first quarter As the Affordable Care Act moves onto ity member Koby Adams. “When I had my Medical Center. But as the of the year, I think this board needs to take the health care scene, the Lake Shore interview with the governor, he asked me new health care act takes effect, Lake Shore a serious thought about attempting to sell Hospital Authority entertained the idea what I didn’t like about the authority. -
Lobby Loyde: the G.O.D.Father of Australian Rock
Lobby Loyde: the G.O.D.father of Australian rock Paul Oldham Supervisor: Dr Vicki Crowley A thesis submitted to The University of South Australia Bachelor of Arts (Honours) School of Communication, International Studies and Languages Division of Education, Arts, and Social Science Contents Lobby Loyde: the G.O.D.father of Australian rock ................................................. i Contents ................................................................................................................................... ii Table of Figures ................................................................................................................... iv Abstract .................................................................................................................................. ivi Statement of Authorship ............................................................................................... viiiii Acknowledgements ............................................................................................................. ix Chapter One: Overture ....................................................................................................... 1 Introduction: Lobby Loyde 1941 - 2007 ....................................................................... 2 It is written: The dominant narrative of Australian rock formation...................... 4 Oz Rock, Billy Thorpe and AC/DC ............................................................................... 7 Private eye: Looking for Lobby Loyde ......................................................................... -
15-L. Films Abra Ensemble Yaron Abulafia
Bios of PQ Projects Participants | Page 1 15-L. FILMS Sala Beckett / Theatre and International Drama Centre (Performance Space Exhibition) 15-L. FILMS is a production company based in Barcelona, created in 2013 by Carlota Coloma and Adrià Lahuerta. They produce documentaries for cinema and other platforms, and for agencies and clients who want to explore the documentary genre in all its possibilities. Their productions have been selected and awarded in many festivals: MiradasDoc, Milano International Documentary Festival, HotDocs and DOCSMX among others. They have been selected to participate in several workshops and pitches such as: IDW Visions du Réel; Cross Video Days; Docs Barcelona. ABRA ENSEMBLE Hall I + Abra Ensemble (Performance Space Exhibition) ABRA Ensemble's works aspire to undermine existing power structures as they express themselves in the voice, language patterns and ways of speech. They seek rather communal, feminist strategies of composition, listening and creative-coexistence. Exposing the emergence of the music itself, ABRA Ensemble bridges the existing limits between contemporary virtuoso vocal art and the performative, transformative encounter with an audience. In the five years since its founding in 2013, the ensemble has performed at a diverse range of venues in Israel and Europe, released a debut album and gained considerable recognition both in the new-music and contemporary performance scene. YARON ABULAFIA Jury Member 2019 / PQ Ambassador Yaron Abulafia has designed over 200 theatre and dance performances, installations, concerts and television shows internationally. He has designed for the Netherlands Dans Theater, the English National Ballet, Rambert Dance Company, Staatsballett Berlin, Danza Contemporanea de Cuba and the Hungarian State Theatre of Cluj in Romania – to mention but a few. -
Entertainment Posters, Part 1 Rock Concerts, Film, Theatre & Performance
Entertainment Posters, Part 1 Rock concerts, film, theatre & performance Collectors’ List No. 190, 2017 Online catalogue Josef Lebovic Gallery 103a Anzac Parade (cnr Duke St) Kensington (Sydney) NSW p: (02) 9663 4848 e: [email protected] w: joseflebovicgallery.com 1.| |For The Term Of His Natural Life,| JOSEF LEBOVIC GALLERY 1927.| Colour linocut with letter press, 101.7 x Celebrating 40 Years • Established 1977 76.5cm. Repaired minor creases and stains Member: AA&ADA • A&NZAAB • IVPDA (USA) • AIPAD (USA) • IFPDA (USA) to margins, old folds. Linen-backed.| $1,650| Text includes “All the wealth of a nation! It cost Address: 103a Anzac Parade, Kensington (Sydney), NSW over £60,000 to produce in Australia for the world! Postal: PO Box 93, Kensington NSW 2033, Australia Australia’s peerless scenery was combed to show Phone: +61 2 9663 4848 • Mobile: 0411 755 887 • ABN 15 800 737 094 the world the nation’s natural beauty spots, the company travelling more than 2,000 miles to various Email: [email protected] • Website: joseflebovicgallery.com locations, including picturesque Tasmania. Produced Open: Monday to Saturday from 1 to 6pm by chance or by appointment by the famous international director, Norman Dawn, for Australasian Films Ltd, it is adapted from Marcus Clarke’s world-famous book, of which millions of copies have been sold. “It is the first gigantic effort to place Australia on COLLECTORS’ LIST No. 190, 2017 the movie map. Rich in earnest human appeal this Union-Master-World-Production presents something spectacular, dramatic and historical that will live for all time. Marcus Clarke’s immortal story, produced by Norman Dawn for Australasian Films Ltd. -
Music Business and the Experience Economy the Australasian Case Music Business and the Experience Economy
Peter Tschmuck Philip L. Pearce Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Music Business and the Experience Economy . Peter Tschmuck • Philip L. Pearce • Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Editors Peter Tschmuck Philip L. Pearce Institute for Cultural Management and School of Business Cultural Studies James Cook University Townsville University of Music and Townsville, Queensland Performing Arts Vienna Australia Vienna, Austria Steven Campbell School of Creative Arts James Cook University Townsville Townsville, Queensland Australia ISBN 978-3-642-27897-6 ISBN 978-3-642-27898-3 (eBook) DOI 10.1007/978-3-642-27898-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2013936544 # Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. -
Relacion De Articulos Ordenados
Artículos ordenados por autor (1985-2009) Grupo / artículo / nº de revista / página / mes / año ??? ALBERT COLLINS - In memoriam - nº 94, pag 19, Abril-1994 ANDY SHERNOFF - Fotomatón - nº 134, pag 11, Diciembre-1997 ÁNGEL ALTOLAGUIRRE - Fotomatón - nº 129, pag 16, Junio-1997 BEN VAUGHN - Fotomatón - nº 140, pag 15, Junio-1998 BOMBARDEROS - Munición pesada - nº 29, pag 14, Mayo-1988 BUDDY HOLLY - Buddy - nº 51, pag 14, Mayo-1990 BYRDS - Pájaros empapelados - nº 47, pag 15, Enero-1990 CALVIN JOHNSON - Fotomatón - nº 127, pag 16, Abril-1997 CARL PERKINS - Rockabilly magnetoscopico - nº 29, pag 13, Mayo-1988 CHUCK BERRY - Brown eyed handsome man - nº 22, pag 5, Octubre-1987 COME - Total Blackout - nº 119, pag 13, Julio/Agosto-1996 DEAN WAREHAM - Fotomatón - nº 133, pag 16, Noviembre-1997 DUANE ALLMAN - Lo que el viento se llevó - nº 173, pag 48, Junio-2001 ELLIOT SHARP - Trigonometría musical - nº 33, pag 14, Octubre-1988 ERNESTO PRIBATA - Fotomatón - nº 141, pag 17, Julio/Agosto-1998 EXTRAÑOS AQUÍ - Esperanza malagueña - nº 38, pag 64, Marzo-1989 FANG - Fotomatón - nº 144, pag 8, Noviembre-1998 FLECHAZOS - Examen de conciencia - nº 34, pag 14, Noviembre-1988 FLECHAZOS - Fotomatón - nº 131, pag 16, Septiembre-1997 FLORES DEL MAL - Disparos botánicos - nº 30, pag 12, Junio-1988 FRANK BLACK - Fotomatón - nº 150, pag 12, Mayo-1999 FUZZTONES - Fuzzin' All Over Spain - nº 28, pag 12, Abril-1988 GEMA SUBTERFUGE - Fotomatón - nº 132, pag 16, Octubre-1997 HANK - Fotomatón - nº 151, pag 16, Junio-1999 HOWARD DEVOTO - Devoción lujuriosa - nº 52, pag 12, Junio-1990 IAN SVENONIOUS - Fotomatón - nº 138, pag 11, Abril-1998 J.P.S. -
Twang and Trauma in Australian Indige- Nous Popular Music
Politik Nummer 1 | Årgang 23 | 2020 Of country and country: Twang and trauma in Australian Indige- nous popular music Simon Philpott, Reader in Postcolonial Politics and Popular Culture, School of Geogra- phy, Politics and Sociology, University of Newcastle Over the last half century, as part of a wider struggle for recognition, respect, reconcili- ation and justice, Indigenous Australians and others supporting their claims have in- creasingly been heard in popular music. Indigenous musicians are increasingly insistent that white Australia must change. By the time Jimmy Little released his much loved song, ‘Royal Telephone’, in 1963, he had long been Australia’s most prominent Indigenous recording artist. His music was out of the US gospel tradition via Nat King Cole and Jim Reeves. The “royal telephone” of the song describes the direct line between believer and god. With one exception, Little was silent in his music on the plight of Indigenous Australians although his earliest years were spent on a reservation that a large number of people eventually walked ofF, so poor were the living conditions. Little was a rare Indigenous presence in Australian music, respected For his individual talent and probably liked because his work did not raise un- comFortable questions about the past. Liking and respecting individual Indigenous people while disliking and rejecting their culture is something white Australians have successFully psychologically negotiated For decades. For example, Christine Anu’s (1995) cover of ‘My Island Home’ (1987), which celebrates Anu’s love of her Torres Strait island home and was a major hit in the year of its release, Featured as one of the songs in the closing ceremony of the Sydney Olympics, and now has well over 1 million views on Youtube. -
Sydney's New Jams
Fears major bus routes will be cut Fairfax and Google like if we don’t have the newsrooms we have BY PETER HACKNEY “Light rail in Surry Hills is supposed to replace now?” There are fears major bus services serving Sydney’s these buses but down Devonshire St – an average of become Pyrmont The news might not be all bad for Fairfax inner east will be cut, with the NSW Long Term one kilometre away from current bus stops. And the though, and the close proximity to Google Transport Masterplan appearing to show that a raft of light rail [will only go] to Circular Quay, not across the housemates could present some strategic advantages for bus routes serving Darlinghurst and Surry Hills will bridge to North Sydney and beyond, as some of the BY MAX CHALMERS the struggling company. be scrapped. bus services do. A new arrangement between two of the most Maureen Henninger, a Senior Lecturer in While the masterplan does not specifically spell “This doesn’t help residents who work in the North recognisable brands in Australia has led to the Information and Knowledge Management at out the fate of the services, the blueprint for Sydney’s Sydney commercial precinct or who, for example, go radical reimagining of a Pyrmont office space. the University of Technology, Sydney (UTS), transport future does not include any bus services on to the North Sydney pool in the mornings for a swim.” Internet giant Google has moved into the said that while Google would hardly be giving Fitzroy and Albion Streets. Ms Slama-Powell said residents of Surry Hills, second floor of Fairfax’s Pyrmont offices, away any secrets, conversations with Fairfax about its social networking programs Google “All bus services on Fitzroy and Albion Streets Paddington and Darlinghurst needed to know about subleasing the space from the struggling media Plus could be fertile. -
“Covering” the Bluesman from a Distance
Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago. -
Landscape As Stage, Weather As Dramaturge: Pageantry in the Ecological Age
Landscape as Stage, Weather as Dramaturge: Pageantry in the Ecological Age By Ian McFarlane Figure 1. Woodprint by Ian McFarlane 1 Table of Figures Figure 1. Woodprint by Ian McFarlane .............................................................................................. 1 Figure 2. The River Clyde Pageant. Photo by Robert Van Waarden ..................................... 5 Figure 3. Iinisikimm. Photo by David Lane ....................................................................................... 5 Figure 4. The River Clyde Pageant. Photo by Robert Van Waarden .................................. 15 2 A sail is made out of earth, a Bison is resurrected with light, trees walk, the stars dance, fish fly, and the sky descends to the earth singing. The impossibility of these images stem from acts of collective dreaming, from an enchantment with the possibility of what could be. They emerged from several community- lead outdoor performances in the summer of 2017. These images can be interpreted as acts of emplacement, as political reactions, as events of community forming, as well as actions that extend beyond interpretation. I argue that they are acts of correspondence; they are ways of answering to the world. I was able to experience these images first-hand on a continent-wide research trip in the summer of 2017. This research took me to three different communities, each exercising their own particular creative philosophies, each reacting to a specific political climate and each embedded within a uniQue landscape. The intent of my research was to experience community-lead protest art in rural communities while utilizing my work in puppetry as a discipline of emplacement. These communities included the broader community of Bread and Puppet Theater in Glover, Vermont, the community of New Glasgow, PEI, and a newly assembled community of artists, scientists, elders, teachers and students in Treaty 7 territory, Alberta. -
The University of Newcastle Uninews, September, 2003
A'fch,...{e-s . (ev'l~r ~E> (Vice-Chancellor's Column ) T"wo graduation ceremonies are coordinated the Book fair, which has significantly being held in Newcastle in October, contributed to the University since 1983. which will highlight the successful completion of studies for our The University will also hold the 2003 overseas graduates in mid-2003, and the graduation ceremony in Singapore in October. awarding of a number of honorary It will be the largest overseas graduation ceremony doctorates and an exceptional to date, with over 100 international students service medal. participating from countries such as I-long Kong, Ivralaysia, Thailand, India and Singapore. Among These ceremonies are very graduates from many degree programs, we will special occasions for the university, recognise the first cohort of engineering graduates particularly for our graduates, who have completed their studies in association their families and supporters, with our partner, PSB Academy. staff and Council members, emeritus professors, honorary An honorary doctorate in engineering will be degree recipients, local members presented to Mr Chew Heng Ching David, of Parliament and other supporters one of our Colombo Plan scholars, a University of the university who can all join Medallist and currently Deputy Speaker in the together in celebrating the success Singapore Parliament. Besides having an active of our graduates. career in the public sector, Mr Chew has worked in various corporations involved with a wide range Four distinguished Australians will graduate from of industries, including banking, manufacturing, the University with honorary doctorates, including: commerce, real estate, construction, food and beverage, education and media, and was the Ms Patricia Davis~Hurstwho is an Aboriginal Foundation President of the Singapore Septemberedition cultural teacher, journalist, historian, author and Institute of Directors. -
Hyper-Heteromasculinity in 1970S Australian Popular Music Cultures
‘Sheilas and Pooftas’: Hyper-Heteromasculinity in 1970s Australian Popular Music Cultures Rebecca Hawkings Macquarie University In 1978, a letter writer to Rock Australia Magazine (RAM) wrote disparagingly of pop music’s ‘sheilas and pooftas’, and positioned them as the antithesis of ‘Aussie rock and roll.’1 The colloquial language employed by the letter writer reveals a deeper fear and loathing of non-masculine (‘sheila’) and non-heterosexual (‘poofta’) influences on Australian popular music culture. Indeed, gender and sexuality were two key ways by which ‘Australianness’ in popular music during the 1970s was recognised, and this article seeks to unpack and problematise those nationalising demarcations. Using the analytical framework of performative hyper-heteromasculinity (specifically, the ‘ocker’ identity and variations thereof), this article will critically engage with artists including Billy Thorpe and The Aztecs, Skyhooks, and The Angels, in order to better understand the complex nexus of gender, sexuality, and cultural nationalism that defined much of 1970s Australian popular music. Introduction In 1978, a letter writer to Rock Australia Magazine (RAM) wrote, At last Australia is coming up with some good recording artists. People like Midnight Oil, David Warner, the Angels, Cold Chisel etc. Not like this fuckin’ disco shit which is fit for sheilas and pooftas… There is Aussie rock and roll playing in the pubs these days.2 Colloquial language and slurs aside, the letter writer articulates an under-examined aspect of Australian popular music of the 1970s; namely, the demarcative role of gender and sexuality in ascribing ‘Australianness’ to music cultures. Indeed, the 1970s provide a fascinating example of the fear and loathing of the non-masculine (‘sheilas’) and non-heterosexual (‘pooftas’) in music cultures recognised as ‘Australian’.