Popular Music, Stars & Stardom
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 ......................................................................... -
Popular Music, Stars and Stardom
POPULAR MUSIC, STARS AND STARDOM POPULAR MUSIC, STARS AND STARDOM EDITED BY STEPHEN LOY, JULIE RICKWOOD AND SAMANTHA BENNETT Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au A catalogue record for this book is available from the National Library of Australia ISBN (print): 9781760462123 ISBN (online): 9781760462130 WorldCat (print): 1039732304 WorldCat (online): 1039731982 DOI: 10.22459/PMSS.06.2018 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design by Fiona Edge and layout by ANU Press This edition © 2018 ANU Press All chapters in this collection have been subjected to a double-blind peer-review process, as well as further reviewing at manuscript stage. Contents Acknowledgements . vii Contributors . ix 1 . Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations . 1 Stephen Loy, Julie Rickwood and Samantha Bennett 2 . Interstellar Songwriting: What Propels a Song Beyond Escape Velocity? . 21 Clive Harrison 3 . A Good Black Music Story? Black American Stars in Australian Musical Entertainment Before ‘Jazz’ . 37 John Whiteoak 4 . ‘You’re Messin’ Up My Mind’: Why Judy Jacques Avoided the Path of the Pop Diva . 55 Robin Ryan 5 . Wendy Saddington: Beyond an ‘Underground Icon’ . 73 Julie Rickwood 6 . Unsung Heroes: Recreating the Ensemble Dynamic of Motown’s Funk Brothers . 95 Vincent Perry 7 . When Divas and Rock Stars Collide: Interpreting Freddie Mercury and Montserrat Caballé’s Barcelona . -
The Sound of Ruins: Sigur Rós' Heima and the Post
CURRENT ISSUE ARCHIVE ABOUT EDITORIAL BOARD ADVISORY BOARD CALL FOR PAPERS SUBMISSION GUIDELINES CONTACT Share This Article The Sound of Ruins: Sigur Rós’ Heima and the Post-Rock Elegy for Place ABOUT INTERFERENCE View As PDF By Lawson Fletcher Interference is a biannual online journal in association w ith the Graduate School of Creative Arts and Media (Gradcam). It is an open access forum on the role of sound in Abstract cultural practices, providing a trans- disciplinary platform for the presentation of research and practice in areas such as Amongst the ways in which it maps out the geographical imagination of place, music plays a unique acoustic ecology, sensory anthropology, role in the formation and reformation of spatial memories, connecting to and reviving alternative sonic arts, musicology, technology studies times and places latent within a particular environment. Post-rock epitomises this: understood as a and philosophy. The journal seeks to balance kind of negative space, the genre acts as an elegy for and symbolic reconstruction of the spatial its content betw een scholarly w riting, erasures of late capitalism. After outlining how post-rock’s accommodation of urban atmosphere accounts of creative practice, and an active into its sonic textures enables an ‘auditory drift’ that orients listeners to the city’s fragments, the engagement w ith current research topics in article’s first case study considers how formative Canadian post-rock acts develop this concrete audio culture. [ More ] practice into the musical staging of urban ruin. Turning to Sigur Rós, the article challenges the assumption that this Icelandic quartet’s music simply evokes the untouched natural beauty of their CALL FOR PAPERS homeland, through a critical reading of the 2007 tour documentary Heima. -
[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. -
Jorgensen 2019 the Semi-Autonomous Rock Music of the Stones
Sound Scripts Volume 6 | Issue 1 Article 12 2019 The eS mi-Autonomous Rock Music of The tS ones Darren Jorgensen University of Western Australia Recommended Citation Jorgensen, D. (2019). The eS mi-Autonomous Rock Music of The tS ones. Sound Scripts, 6(1). Retrieved from https://ro.ecu.edu.au/soundscripts/vol6/iss1/12 This Refereed Article is posted at Research Online. https://ro.ecu.edu.au/soundscripts/vol6/iss1/12 Jorgensen: The Semi-Autonomous Rock Music of The Stones The Semi-Autonomous Rock Music of The Stones by Darren Jorgensen1 The University of Western Australia Abstract: The Flying Nun record the Dunedin Double (1982) is credited with having identified Dunedin as a place where independent, garage style rock and roll was thriving in the early 1980s. Of the four acts on the double album, The Stones would have the shortest life as a band. Apart from their place on the Dunedin Double, The Stones would only release one 12” EP, Another Disc Another Dollar. This essay looks at the place of this EP in both Dunedin’s history of independent rock and its place in the wider history of rock too. The Stones were at first glance not a serious band, but by their own account, set out to do “everything the wrong way,” beginning with their name, that is a shortened but synonymous version of the Rolling Stones. However, the parody that they were making also achieves the very thing they set out to do badly, which is to make garage rock. Their mimicry of rock also produced great rock music, their nonchalance achieving that quality of authentic expression that defines the rock attitude itself. -
The Sound of Dunedin's None Gallery // Page 20 Painting
THE SOUND OF DUNEDIN’S NONE GALLERY // PAGE 20 PAINTING THE TOWN // PAGE 23 THE NZ INTERNATIONAL FILM FESTIVAL // PAGE 26 ISSUE 18 // 3 AUG 2015 CRITIC.CO.NZ OTAGO DIVESTMENTS // EXECRABLE // FIRE WALKERS // DESIGN SCHOOL // GRANDMA SPINS A YARN // ICT GRAD SCHOOL // FIRE WALKERS // INTERNATIONAL NEWS // NEWS IN BRIEFS // POLITICS // SPORTS // FLUKE INTERVIEW // ISSUE 18 : 3 AUGUST 2015 FEATURES 20 DUNEDIN’S NONE GALLERY A short walk up Stafford, a street lined with disused- warehouses and an old furniture distributor, one will find None Gallery. It is a residential studio and gallery complex that is a mainstay of Dunedin’s alternative sound subculture and independent arts. BY GEORGE ELLIOT 23 PAINTING THE TOWN 23 The work on our walls is sparking more creative expression and engaging the Dunedin public. “We are consciously targeting places that are out of the way for people today, like car parks and demolished buildings. These areas used to be busy. They were once the hub of the city and things change, but there is still something special there.” BY JESSICA THOMPSON 26 NZ INTERNATIONAL FILM FEST Films are about looking through another person’s eyes, entering their life and seeing how their world operates. The NZIFF offers multiple opinions, visions and lives for us to enter — ones we wouldn’t normally 20 26 see with blockbuster films. BY MANDY TE NEWS & OPINION COLUMNS CULTURE 04 OTAGO DIVESTS 38 LETTERS 30 SCREEN AND STAGE 05 EXECRABLE 42 SOMETHING CAME UP 32 ART 06 NEWS 42 DEAR ETHEL 33 GAMES 10 INTERNATIONAL NEWS 43 SCIENCE, BITCHES! -
Dunedin Sound Sources at the Hocken Collections
Reference Guide Dunedin Sound Sources at the Hocken Collections ‘Thanks to NZR Look Blue Go Purple + W.S.S.O.E.S Oriental Tavern 22-23 Feb’, [1985]. Bruce Russell Posters, Hocken Ephemera Collection, Eph-0001-ML-D-07/09. (W.S.S.O.E.S is Wreck Small Speakers on Expensive Stereos). Permission to use kindly granted by Lesley Paris, Norma O’Malley, Denise Roughan, Francisca Griffin, and Kath Webster. Hocken Collections/ Uare Taoka o Hākena, University of Otago Library Nau Mai Haere Mai ki Te Uare Taoka o Hākena: Welcome to the Hocken Collections He mihi nui tēnei ki a koutou kā uri o kā hau e whā arā, kā mātāwaka o te motu, o te ao whānui hoki. Nau mai, haere mai ki te taumata. As you arrive We seek to preserve all the taoka we hold for future generations. So that all taoka are properly protected, we ask that you: place your bags (including computer bags and sleeves) in the lockers provided leave all food and drink including water bottles in the lockers (we have a researcher lounge off the foyer which everyone is welcome to use) bring any materials you need for research and some ID in with you sign the Readers’ Register each day enquire at the reference desk first if you wish to take digital photographs Beginning your research This guide gives examples of the types of material relating to the Dunedin Sound held at the Hocken. All items must be used within the library. As the collection is large and constantly growing not every item is listed here, but you can search for other material on our Online Public Access Catalogues: for books, theses, journals, magazines, newspapers, maps, and audiovisual material, use Library Search|Ketu. -
Place and Music: Performing "The Region" on the New South Wales Far North Coast
University of Wollongong Research Online Faculty of Science - Papers (Archive) Faculty of Science, Medicine and Health 2009 Place and music: Performing "the region" on the New South Wales Far North Coast Christopher R. Gibson University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/scipapers Part of the Life Sciences Commons, Physical Sciences and Mathematics Commons, and the Social and Behavioral Sciences Commons Recommended Citation Gibson, Christopher R.: Place and music: Performing "the region" on the New South Wales Far North Coast 2009, 60-81. https://ro.uow.edu.au/scipapers/1265 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Place and music: Performing "the region" on the New South Wales Far North Coast Abstract This paper draws on research conducted for over a decade on the musical cultures of the New South Wales Far North Coast, as a contribution to debates in geography and popular music studies on the links between music, place and articulations of cultural identities. Patterns of migration and economic restructuring over the last 20 years have transformed the Far North Coast region, with associated changes in the images conjured to describe the region – from those centred on dairying, fishing and sugar harvesting to those of a ‘lifestyle’ or ‘alternative’ region, with growth in employment in tourism, recreational services, ‘gourmet’ agricultural production, culinary delights, homewares retail and the arts. Music has been a constant presence in the region throughout generations, but became much more pronounced after significant counter-urban migrations to the area began in the 1970s. -
“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. -
Popular Music, Stars and Stardom
POPULAR MUSIC, STARS AND STARDOM POPULAR MUSIC, STARS AND STARDOM EDITED BY STEPHEN LOY, JULIE RICKWOOD AND SAMANTHA BENNETT Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au A catalogue record for this book is available from the National Library of Australia ISBN (print): 9781760462123 ISBN (online): 9781760462130 WorldCat (print): 1039732304 WorldCat (online): 1039731982 DOI: 10.22459/PMSS.06.2018 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design by Fiona Edge and layout by ANU Press This edition © 2018 ANU Press All chapters in this collection have been subjected to a double-blind peer-review process, as well as further reviewing at manuscript stage. Contents Acknowledgements . vii Contributors . ix 1 . Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations . 1 Stephen Loy, Julie Rickwood and Samantha Bennett 2 . Interstellar Songwriting: What Propels a Song Beyond Escape Velocity? . 21 Clive Harrison 3 . A Good Black Music Story? Black American Stars in Australian Musical Entertainment Before ‘Jazz’ . 37 John Whiteoak 4 . ‘You’re Messin’ Up My Mind’: Why Judy Jacques Avoided the Path of the Pop Diva . 55 Robin Ryan 5 . Wendy Saddington: Beyond an ‘Underground Icon’ . 73 Julie Rickwood 6 . Unsung Heroes: Recreating the Ensemble Dynamic of Motown’s Funk Brothers . 95 Vincent Perry 7 . When Divas and Rock Stars Collide: Interpreting Freddie Mercury and Montserrat Caballé’s Barcelona . -
2015 Umbrella Catalogue
20152017 UMBRELLAUMBRELLA CATALOGUECATALOGUE MUSIC NEWMUSIC STRANDED DVD The 1970s Punk Rock movement: New DCP York had The Ramones, London had Sex Pistols, Australia had The Saints... Stranded takes a look at the role four musicians from suburban Brisbane played in the explosion of one of the all time greatest musical movements. Featuring interviews with the members of the band, including its leaders Ed Kuepper and Chris Bailey, as well as the likes of Sir Bob Geldof, former Dead Kennedys frontman Jello Biafra and Buzzcocks guitarist Steve Diggle, Stranded examines how the oppressive and conservative government of Joh Bjelke-Petersen in the 1970s helped act as a catalyst for the rise of punk rock in Australia, and how as a result The Saints went on to be one of the most influential bands in the country. FOR ALL ENQUIRIES REGARDING UMBRELLA’S THEATRICAL CATALOGUE umbrellaent.films @Umbrella_Films PLEASE CONTACT ACHALA DATAR – [email protected] | 03 9020 5134 NEWMUSIC STRANDED DVD KYLIE DVD The 1970s Punk Rock movement: New DCP York had The Ramones, MINOGUE: London had Sex Pistols, Australia had The Saints... SHOWTIME Stranded takes a look at the role four With over 70 million albums sold musicians from suburban Brisbane played in worldwide, Kylie Minogue has earned the explosion of one of the all time greatest her crown as the Princess of Pop. musical movements. Featuring interviews with the members Kylie Minogue Showtime captures the of the band, including its leaders essence of her grand ascension to fame Ed Kuepper and Chris Bailey, as well from her early acting days on Australian as the likes of Sir Bob Geldof, former Soap sensation Neighbours through to Dead Kennedys frontman Jello Biafra her hit recordings ‘Hand On Your Heart’, and Buzzcocks guitarist Steve Diggle, ‘Tears On My Pillow’ and the 6 million Stranded examines how the oppressive and plus selling dance anthem ‘Can’t Get you conservative government of Out of My Head’. -
History of the Beat 'N Tracks Perth 1965-1967 by Dave Cross I Was Raised on a Farm with No Family Music Background and Came Fr
History of the Beat ‘n Tracks Perth 1965-1967 By Dave Cross I was raised on a farm with no family music background and came from Busselton High School aged 18 years to study at the University of WA (UWA) in 1964. I hung around the folk music scene being an inaugural member of the University Folk Club along with some friends and fellow students John de Hoog, Bill Greble, John Baxter, Roger Clifton, Libby Lloyd, Ron Fewster, Vivette Hughes, Jane Chetwynd, Gillian McLean and others. We needed a focal point. Libby’s dad was director in a company that owned the derelict Redcastle Brewery in Rivervale and we got permission to use any space there we liked for a peppercorn rent. We selected a big room and spent a lot of time decorating it with folky themes and christened it “The Long Room” – it was a fantastic headquarters and we hosted many shows there including entertaining international artists after their concerts such as Peter, Paul and Mary who were really big at that time. I spent a lot of time learning to play guitar by ear and these activities contributed greatly to me dropping out of university by the end of 1965 much to the disgust of my parents who had a farm at Quindalup near Busselton. While in the folk scene, I met Murray Wilkins (double bass player) – he was a member of the West Coast Trio, who were very big on the folk and jazz scene in Perth those days. Coincidentally, he would later become a member of the Beat ‘n Tracks in early 1968.