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THE ALLNITERS Will Always Be Remembered for Their Big Sound, Cracking Tunes and Eccentric Exuberance
THE ALLNITERS will always be remembered for their big sound, cracking tunes and eccentric exuberance. Mischievous and a little bit cheeky, they’re the most successful ska act in Australian history and they’re back: bigger, bolder and brassier than ever after over 30 years, proving once and for all that THE ALLNITERS are Allriters … and evidently ska’d for life. It all began back in 1980 when a group of eight lads and one rude girl gravitated towards charismatic founding member Marty Fabok as the inner-city mod scene was percolating. They nattered, laughed and riffled through their favourite reggae, blues; disco, Jamaican blue beat and rock steady vinyl collections. Jaunty brass and tight rhythm sections were forged and THE ALLNITERS had officially arrived, donning their porkpie hats, braces and Doc Martens and chomping at the bit to burn up the live circuit with upbeat rhythms, walking bass-lines and contagious jocularity. The band cut its teeth as a live act at Sydney’s legendary Sussex Hotel and went on to become one of the hardest touring acts in the country. Attendance records were broken, as were stages, with audience members sometimes storming the stage to out-number the band, egged on by those spilling out the doors, thus threatening structural collapse. Regardless, THE ALLNITERS never failed to amuse, with hysterical, quick-witted onstage banter between vocalists Peter Travis and Brett Pattinson rivaling that of The Two Ronnie’s. The band rapidly became as renowned for their energetic sense of playfulness as for their larger than life new wave sound. -
The Premiere Fund Slate for MIFF 2021 Comprises the Following
The MIFF Premiere Fund provides minority co-financing to new Australian quality narrative-drama and documentary feature films that then premiere at the Melbourne International Film Festival (MIFF). Seeking out Stories That Need Telling, the the Premiere Fund deepens MIFF’s relationship with filmmaking talent and builds a pipeline of quality Australian content for MIFF. Launched at MIFF 2007, the Premiere Fund has committed to more than 70 projects. Under the charge of MIFF Chair Claire Dobbin, the Premiere Fund Executive Producer is Mark Woods, former CEO of Screen Ireland and Ausfilm and Showtime Australia Head of Content Investment & International Acquisitions. Woods has co-invested in and Executive Produced many quality films, including Rabbit Proof Fence, Japanese Story, Somersault, Breakfast on Pluto, Cannes Palme d’Or winner Wind that Shakes the Barley, and Oscar-winning Six Shooter. ➢ The Premiere Fund slate for MIFF 2021 comprises the following: • ABLAZE: A meditation on family, culture and memory, indigenous Melbourne opera singer Tiriki Onus investigates whether a 70- year old silent film was in fact made by his grandfather – civil rights leader Bill Onus. From director Alex Morgan (Hunt Angels) and producer Tom Zubrycki (Exile in Sarajevo). (Distributor: Umbrella) • ANONYMOUS CLUB: An intimate – often first-person – exploration of the successful, yet shy and introverted, 33-year-old queer Australian musician Courtney Barnett. From producers Pip Campey (Bastardy), Samantha Dinning (No Time For Quiet) & director Danny Cohen. (Dist: Film Art Media) • CHEF ANTONIO’S RECIPES FOR REVOLUTION: Continuing their series of food-related social-issue feature documentaries, director Trevor Graham (Make Hummus Not War) and producer Lisa Wang (Monsieur Mayonnaise) find a very inclusive Italian restaurant/hotel run predominately by young disabled people. -
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 ......................................................................... -
Big Pig, Breakaway\\
AS OF APRIL 20, 1988 A SAMPLING OF PLAYLISTS AT TH E NATIONAL VIDEO MUSIC OUTLETS. ® cL p Lists do not include videos in Billboard recurrent or oldies rotation. TM G. Estefan /MSM, Anything For You Debbie Gibson, Out Of The Blue George Michael, One More Try INXS, Devil Inside Billy Ocean, Get Outta My Dreams ... Icehouse, Electric Blue Bruce Springsteen, One Step Up Debbie Gibson, Only In My Dreams Jermaine Stewart, Say It Again Jermaine Stewart, Jody MUSIC TELBv lOir HEAVY us Jermaine Stewart, We Don't Have To ... Rick Astley, Together Forever Pepsi & Shirlie, Heartache Continuous programming Cher, We All Sleep Alone Pepsi & Shirtie, All Right Now 1775 Broadway, New York, NY 10019 Whitney Houston, Where Do Broken Hearts Go Rick Springfield, Rock Of Life Michael Jackson, Man In The Mirror Rick Springfield, Dance The World Away ADDS Johnny Hates Jazz, Shattered Dreams Rick Springfield, Living In Paradise Brenda Russell, Piano In The Dark The Alarm, Rescue Me Jermaine Stewart, Say It Again Jon Anderson, Hold On To Love James Taylor, Never Die Young Tracy Chapman, Fast Car Toto, Pamela Joanna Dean, Kiss This Dokken, Heaven Sent Debbie Gibson, Foolish Beat MEDIUM Heart Desires Hall & Oates, Everything Your 10,000 Maniacs, Like The Weather And The Range, Valley Road Bruce Hornsby Merry Clayton, Yes Middle Of Nowhere House Of Shock, The Deele, Two Occasions Ranch, Reach 511 Martini Donald Fagen, Century's End Toot Toot John Cougar Mellencamp, Booty Bryan Ferry, Kiss And Tell BLACK ENTERTAINMENT TELEVISION The Robert Tepper, Unforgiven Art Garfunkel, So Much In Love Nanci Griffith, I Knew Love 14 hours daily SNEAK PREVIEW O.M.D., Dreaming 4217 Wheeler Ave., Alexandria, VA 22304 The Crazy River Belinda Carlisle, Circle In The Sand Robbie Robertson, Somewhere Down Del Leppard, Pour Some Sugar On Me Scarlett & Black, You Don't Know ADDS Pink Floyd, Dogs Of War Al B. -
The Loved Ones (2009)
Screen Sound n3, 2012 ALL MASHED UP? Songs, Music and Allusionism in The Loved Ones (2009) Philip Hayward Abstract This article considers Australian director Sean Byrne’s 2009 horror/comedy feature film The Loved Ones with particular regard to its uses of allusionism within a popular genre context.1 Within this focus, the article explores the various musical components of the soundtrack (including critical use of specific songs), the creative template determined by the director and the creative input and decision making of various members of the production team. In this manner, the article profiles the film’s audio-visual text, the perceptions and motivations of the production team and considers how these relate to the film’s reception and box-office performance. Keywords The Loved Ones, allusionism, film songs, soundtrack, Australian film Allusionism — An Introduction Back in 1982 the film theorist Noel Carroll considered and, it is not unfair to say, fretted over, the prevalence of allusionism in a range of popular films. Carroll’s critical persona and aesthetic approach drew on two strands: the auteur school of film criticism that attempted to identify distinguished creative authors working within the (supposedly largely undistinguished) mainstream film industry; and a parallel interest in and commitment to the modernism of the western cinematic avant-garde. His anxiety over allusionism in popular cinema arose from a position that considered that, while classic auteur cinema and (successful) modernist works could be identified to have allusionism skillfully woven into the fabric of their texts (and, more broadly, into their author’s aesthetic visions), a range of popular cultural texts seemed increasingly inclined to simply display their allusionism without any deep or thematically significant intent. -
We Re Living on Dog Food
WE’RE LIVING ON DOG FOOD von Richard Max Lowenstein Australien 2009 HDCAM 94 Min. OF Drehbuch: Richard Max Lowenstein, Kamera: Andrew de Groot, Schnitt: Richard Max Lowenstein, Produktion: Ghost Pictures, Produzenten: Richard Max Lowenstein, Andrew de Groot, Lynn- Maree Milburn, mit: Michael Hutchence, Rowland S. Howard, Ollie Olsen, Alannah Hill, Sam Sejavka, Kontakt: Media Luna New Films Richard Max Lowenstein, geboren 1951 im australischen Mel- bourne, studierte an der dortigen Swinburne Film und Televisi- on School Regie. 1979 machte er seinen Abschluss. Er ist Dreh- buchautor und Regisseur von vier Spielfilmen und zwei Doku- mentarfilmen. Er führte außerdem bei diversen preisgekrönten Musikvideos Regie, unter anderem für „INXS“ und „U2“, sowie Post-Punk in Melbourne Ende der 1970er-Jahre: Nick Cave, An eclectic and honest examination of Melbourne’s post-punk bei Konzert- und Fernsehfilmen. Lowenstein ist zudem als Pro- „The Birthday Party“, „Rowland S. Howard“, „Primitive Calcu- music scene of the late 1970s that spawned the likes of Nick duzent von Fernsehserien für den Sender „SBS Independent“ lators“, „The Ears“ und „Whirlywirld“ waren die Bands dieser Cave, the "Birthday Party", "Rowland S. Howard", the "Primiti- tätig. Zeit. Die damals angesagten Underground-Künstler erzählen ve Calculators", "Whirlywirld" and the unique little-band scene von ihrer Musik, der Mode, von den sie inspirierenden Einflüs- amongst many others. Participants proffer their recollections Filmografie sen, den legendären Clubs wie das „Seaview“ und später -
“Afin D'être En Pleine Possession De Ses Moyens
Le“AFIN D’ÊTRE FORUM EN PLEINE POSSESSION DE SES MOYENS” VOLUME 38, #2 PRINTEMPS/SPRING 2016 Websites: Le Forum: http://umaine.edu/francoamerican/le-forum/ Oral History: Francoamericanarchives.org Library: francolib.francoamerican.org Occasional Papers: http://umaine.edu/francoamerican/occasional-papers/ Maine’s French Communities: http://www.francomaine.org/English/Pres/Pres_intro.html francoamericanarchives.org other pertinent websites to check out - Les Français d’Amérique / French In America Calendar Photos and Texts from 1985 to 2002 http://www.johnfishersr.net/french_in_america_calendar.html Franco-American Women’s Institute: $6.00 US http://www.fawi.net Le Forum Sommaire/Contents Lettres/Letters..............................3 Joshua Barrière....................45-47 Le Centre Franco-Américain Université du Maine L’État du NH Orono, Maine 04469-5719 .....................3, 38-41 Coin des jeunes.....................42-44 [email protected] Téléphone: 207-581-FROG (3764) L’État du ME..........................4-13 Télécopieur: 207-581-1455 REMINDER!!! Volume 38 Numéro 2 L’État du CT.........................14-23 Printemps/Spring 2016 Publishing Board Please check your mail- Don Levesque Books/Livres..........................24-26 ing labels for expiration date Paul Laflamme Virginia Sand Roy to your subscription. The Lin LaRochelle James Myall...........................27-28 Louella Rolfe year/month, for example, Diane Tinkham 11/09 means your subscrip- David Vermette......29, 30 & 37-38 Rédactrice/Gérante/Managing Editor -
The Future Is in the Flesh, Article by Clinton Walker, Roadrunner, 1979.Pdf
The Future is in the Flesh Article by Clinton Walker - Roadrunner, 1979 As the echoes of the punk rock explosion fade into eternity a number of post-punk musical movements have emerged. One of the prominent of these is the electronic rock movement which rather than trying to incorporate the synthesiser into a conventional rock format is trying to create its own musical format. In this special report, Clinton Walker traces the development of electronic rock from its beginnings with the likes of Eno, Kraftwerk and the Residents through to the present rash of synthesiser bands in the U.K., the U.S.A. and, yes folks, Australia. In fact, the little publicised Australian electronic music movement is one of the liveliest in the world. Could THIS be the future of rock'n'roll? Plug yourself in, open your memory banks and let's find out, eh? I suppose Brian James really thought he’d hit the nail on the head when he formed the quasi-psychedelic outfit, Tanz Der Youth, after splitting The Damned. Clearly he had interpreted rock’n’roll’s development as moving in a circle and, accepting the punk wave as parallel to Beatlemania and the surrounding Pop Explosion of the early ‘60s, obviously the next step (after the Death of Punk) was going to be some kind of movement that equally paralleled the psychedelia that bloomed in the later 60s. This hypothesis James put into practice (via Tanz Der Youth). Apart from the fact that any rock’n'roll so calculated simply could not (artistically) succeed. -
Jill Bilcock: Dancing the Invisible
JILL BILCOCK: DANCING THE INVISIBLE PRESS KIT Written and Directed by Axel Grigor Produced by Axel Grigor and Faramarz K-Rahber Executive Produced by Sue Maslin Distributed by Film Art Media Production Company: Distributor: Faraway Productions Pty Ltd FILM ART MEDIA PO Box 1602 PO Box 1312 Carindale QLD 4152 Collingwood VIC 3066 AUSTRALIA AUSTRALIA Email: [email protected] Phone: +61 3 9417 2155 faraway.com.au Email: [email protected] filmartmedia.com BILLING BLOCK FILM ART MEDIA, SOUNDFIRM, SCREEN QUEENSLAND and FILM VICTORIA in association with SCREEN AUSTRALIA, THE AUSTRALIAN BROADCASTING CORPORATION and GRIFFITH UNIVERSITY present JILL BILCOCK: DANCING THE INVISIBLE Featuring CATE BLANCHETT, BAZ LUHRMANN, SHEKHAR KAPUR and RACHEL GRIFFITHS in a FARAWAY PRODUCTIONS FILM FILM EDITORS SCOTT WALTON & AXEL GRIGOR DIRECTOR OF PHOTOGRAPHY FARAMARZ K-RAHBER PRODUCTION MANAGER TARA WARDROP PRODUCERS AXEL GRIGOR & FARAMARZ K-RAHBER EXECUTIVE PRODUCER SUE MASLIN © 2017 Faraway Productions Pty Ltd and Soundfirm Pty Ltd. TECHNICAL INFORMATION Format DCP, Pro Res File Genre Documentary Country of Production AUSTRALIA Year of Production 2017 Running Time 78mins Ratio 16 x 9 Language ENGLISH /2 LOGLINE The extraordinary life and artistry of internationally acclaimed film editor, Jill Bilcock. SHORT SYNOPSIS A documentary about internationally renowned film editor Jill Bilcock, that charts how an outspoken arts student in 1960s Melbourne became one of the world’s most acclaimed film artists. SYNOPSIS Jill Bilcock: Dancing The Invisible focuses on the life and work of one of the world’s leading film artists, Academy award nominated film editor Jill Bilcock. Iconic Australian films Strictly Ballroom, Muriel’s Wedding, Moulin Rouge!, Red Dog, and The Dressmaker bear the unmistakable look and sensibility of Bilcock’s visual inventiveness, but it was her brave editing choices in Baz Luhrmann’s Romeo+Juliet that changed the look of cinema the world over, inspiring one Hollywood critic to dub her editing style as that of a “Russian serial killer on crack”. -
![[Warning - This Film Contains Nudity and References to Drugs]](https://docslib.b-cdn.net/cover/9259/warning-this-film-contains-nudity-and-references-to-drugs-1069259.webp)
[Warning - This Film Contains Nudity and References to Drugs]
[Warning - This film contains nudity and references to drugs] [What A Life! Rock Photography by Tony Mott - a free exhibition until 7 February 2016. Solid Gold - Jeff Apter & Philip Morris, Metcalfe Theatre, State Library of NSW, 5th December 2015] [Dressed in a black shirt and dark jeans, grey-haired Philip Morris sits beside his interviewer Jess Apter, a bald man dressed casually] [JEFF APTER] Thank you. Before starting, I want to say I was really fortunate to be able to work with Philip on this book. [Jeff Apter holds up a coffee table book] [JEFF APTER] And it was one of the more interesting exercises, wasn't it? Because we were given a directive to come up with... Was it 200 photos? ..for this book. [PHILIP MORRIS] That's right. [JEFF APTER] And Philip's archive is so fantastic and so rich, that I think we got it down to, what, 600? [PHILIP MORRIS] Yeah. [Audience laughs] [JEFF APTER] Was it 600 to start with? It was something like that. And it's staggering, really. It's a really great document of Australian rock history at a really interesting turning point. So to get it down to this... It's begging for a second edition, by the way. There's so many great photos. So it was a real honour to be able to... to do that. It was a lot of fun. [PHILIP MORRIS] Yeah, it was. [JEFF APTER] We actually had built into our contract... Our agreement was an understanding that we would never work in a boring situation. -
The Melbourne Punk Scene in Australia's Independent Music History
ANZCA09 Communication, Creativity and Global Citizenship. Brisbane, July 2009 The Melbourne Punk Scene in Australia’s Independent Music History Morgan Langdon La Trobe University [email protected] Morgan Langdon completed her Honours in Media Studies at La Trobe University. This paper is an excerpt from her thesis on the history of independent music culture in Melbourne. She plans to begin her PhD in 2010. Abstract The existence of independent music communities and culture within Australia’s major cities today is largely attributed to the introduction of punk in the late 1970s. Among the inner city youth, a tiny subculture emerged around this sprawling, haphazard style of music that was quickly dismissed by the major players in the Australian music industry as bereft of commercial possibilities. Left to its own devices, punk was forced to rely solely on the strength of the independent music network to release some of the most original music of the era and lay the foundations for a celebrated musical culture. This paper examines the factors that contributed to and influenced the early Australian punk scenes, focusing in particular on Melbourne between 1975 and 1981. It shows that the emergence and characteristics of independent music communities within individual cities can be attributed to the existence of certain factors and institutions, both external and internal to the city. Keywords Australian music history, subculture, punk, independent music. Introduction In 1986, the Australian Broadcasting Tribunal published the results of an inquiry into the importance of the broadcasting quota for local music content. Throughout this inquiry, investigations are made into the existence of a distinctly Australian “sound”. -
Making It in the Melbourne Music Scene Post-Punk and Post-Post-Punk
Making it in the Melbourne Music Scene Post-Punk and Post-Post-Punk Dr Sarah Taylor School of Science RMIT University Victoria, Australia [email protected] This paper uses contemporary documentation, interviews and maps to highlight the different types of music careers, and modes of “making it”, seen in the 1986 feature film Dogs in Space. The film concerns a fictional band of the same name, based on The Ears, a minor group active in the Melbourne band scene between 1979-1981. INXS’s Michael Hutchence plays Sam, the singer in post punk group Dogs in Space. The contrast between Hutchence and Sejavka was seen as remarkable: a major-league rock star, having “made it” by the time of the film’s production, portraying a relatively obscure post-punk musician. However, the trajectories of these bands did overlap in time and place. An historical geographical analysis of INXS and The Ears can help to add context to the Melbourne music scene depicted in the film, as well as to the later cult status popularity of the film, made during a transitional time between norms in the Australian music industry. Keywords — Music industry; post punk; Melbourne; INXS; The Ears; Dogs In Space; restructuring. INTRODUCTION I was far more interested in doing, instead of your rags-to-riches pop star story, your rags-to-gutter story... by actually showing the ones that don’t become famous. — Richard Lowenstein, director of Dogs in Space (quoted in Coupe, 1986) At the time of its release in late 1986, Dogs in Space provided a compelling contrast between the heights of music industry success enjoyed by one of its stars, Michel Hutchence, and the exciting but imploding music movement it depicted (Smith, 1986, McGregor, 1986, Coupe, 1986).