REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002 1.The Concept Abstract Based on research, there are about 209,000 live performers of music in Australia. Queensland accounts for 16% of this total, which is the third highest in Australia. The music industry contributed $266m to Australia’s gross product in 1995–96. REVOLUTION ROCK Attending live music concerts accounts for the majority of time spent by consumers on A celebration of Brisbane’s entertainment, closely followed by attending museums and galleries. music history 1942–2002 In one year in Australia there are: ★ 12 million attendances at public art galleries ★ 6.7 million admissions to live theatre Concept ★ 5 million admissions to musical theatre (including opera) Through collaboration with individual artists and the community, the Revolution Rock ★ 3.4 million attendances at dance performances project will examine key events in Brisbane’s social history which have galvanised residents ★ 4 million attendances at classical music concerts, and and artists to creative action in order to protect, preserve and enhance their cultural identity. ★ 19 million attendances at popular music concerts. Format Source: Australia Council Website Music Industry development and Brisbane’s future as a creative city. Revolution Rock is a multimedia project, which will include recording of oral history, film, (Flew et al. Nov 2001, QUT Creative Industries Research and Application Centre.) video and print media, live concert, exhibit, book and memorabilia, focussing on the Background Brisbane music phenomena from the 1940s to the present day. 5.1 Music has been identified as a major growth industry worldwide. The development of the Music industry provides significant wealth generating and export opportunities for Revolution Rock contents Brisbane, Queensland and Australian economies. Music related exports have grown by 1. The Concept ...... 3 2. The Benefits ...... 7 9.6% a year in Australia during the 1990s and were worth $144.3 million in 1998. Abstract ...... 3 Benefits to the community ...... 7 Australia is the eighth largest market for recorded music, with music sales in Australia The starting point ...... 3 Benefits to musicians/performers ...... 7 estimated at $US 656 million in 1999 (MCA 2001). The focal point ...... 3 Benefits to sponsors/supporters ...... 7 5.6.1 Using ABS production and gross product data, the recent Australia Council study, the Arts Economy in Australia 1968–1999 (Guldberg 2000) found that the music Aims ...... 4 3. The Mechanics ...... 8 businesses in Australia were estimated at the end of 1997 to have generated 1.063 Objective ...... 4 Funding ...... 8 billion in gross income and 255.4 million to the domestic product. Outcomes ...... 4 Collaborations ...... 8 5.6.2 Household expenditure related to the production and consumption of music Potential audience ...... 4 4. Timeline ...... 8 amounted to 21.93% of household cultural expenditure, putting music alongside books, Potential market ...... 4 5. The End Product ...... 9 newspapers and magazine consumption, and television related forms of cultural Why Brisbane? ...... 4 consumption (television and VCR hardware, and video cassette purchase and hire) as Why contemporary music? ...... 4 6. Background ...... 9 the overwhelming dominant forms of household expenditure. Scope ...... 4 Appendix One ...... 10 5.7 In the last detailed ABS study of the Queensland cultural industries undertaken in 1993–1994, it was proposed that in the absence of more statistical desegregation, a Revolution Rock: Oral history scope .... 5 Thank you ...... 12 Social history ...... 7 rule of thumb is used whereby Queensland contributed 15% to national turnover in Other issues ...... 7 each category of cultural production, except in instances where it was demonstrably below that level (ABS 1995). The starting point We believe that the role contemporary music plays in society and its contribution to the cultural development of this city has been under-represented and this project intends to redress this imbalance. The focal point Revolution Rock community arts and cultural collective The Brisbane live music sector has not only provided employment and enjoyment to its PO Box 330 inhabitants and dollars to the economy over the years, but has also contributed greatly to Morningside QLD 4170 Brisbane’s development as a creative modern city and international tourist destination. www.revolutionrock.com.au This project is an examination of the social history of this city that has inspired the writers and musicians and it is also a celebration of the music that has in turn shaped this city. Auspiced by Queensland Council of Unions and supported by the Queensland Performing Arts Museum and Brisbane Powerhouse Centre for Live Arts.
2 REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002 REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002 3 Aims Revolution Rock: Oral history scope ★ To analyse social and cultural trends in Brisbane and to investigate political and other This material is consolidated to give an idea of the scope and content of the oral history influences that have contributed to Brisbane’s unique cultural/musical heritage. aspect of the project. The aim is to recognise bands who played only on a Brisbane stage, as ★ To identify how this music has contributed to a distinctive urban culture and identity. well as the bands that found fame nationally and internationally. This is not an inclusive list. Objective The 1940s •Brisbane youth culture — ‘bodgies’. Vance Lendich (The Planets) To ensure preservation of relevant cultural history material and to give future generations a •Lee Gordon tours. Stuart West (The Kodiaks) full awareness and understanding of their contemporary music roots. Reference books: • Brisbane City Council sponsored Michelle O’Driscal The Battle of Brisbane and organised events at City Hall. Go Set Magazine Those Bloody Ragged Heroes Outcomes The venues: The Bee Gees Brisbane at War (local history Cloudland Billy Thorpe The product of this research will be presented to the general public in various multi media publication), 1986, Jim Burke’s Blind Institute dance hall Ross D Wylie, 60s Brisbane singer books (Interesting note: Jim formats. (Woolloongabba) and TV host Burke, big band leader, is related Festival Hall opened 1959 Tony Worsley, 60s entertainer to Bris punk band Razar’s lead Potential audience (previously The Stadium) Janet Burke, 60s Cloudland singer singer Marty Burke.) Due to the time span covered by the project, Revolution Rock has the capacity to attract a Music: Toni McCann, 60s singer Scope: cross-generational audience ranging in ages from 15 to 80. Jazz; Folk; Rock ‘n’ Roll. Peter Moscos, 60s and 70s entertainer • Americanization in ‘occupied’ Jon Blanchfield, 60s entertainer and The project crosses cultural and social boundaries and is relevant to people who enjoy and Brisbane. Social issues. GIs and Characters and bands: TV host Dulcie Day and Jim Burke, 1950s are interested in popular culture. diggers pay disparities. Brisvegas The Purple Hearts girls. Shooting of a black promoters The FIVE Potential market American serviceman in Anzac Peta Crosby, 1950s dancer Thursdays Children Square and another at Wacol. Des Morris, bodgies’ hairdresser Light Museums, libraries and art galleries — Brisbane, regional and national. American military police influence The Stiletos on Queensland police. The 1960s The Chelsea Set Why Brisbane? • Guns, batons and a dead ex- Scope: Radio stations emerge: ★ Because we live here and believe it is essential to document stories relevant to the digger, Brisbane riots and the •1964 anti-Beatle riots Brisbane 4BC and 4IP ‘Battle of Brisbane’ in 1942. community now and for the future. airport — flour bombs and Venue managers: • Inter-racial issues and apartheid in ★ placards. Johnny Morris, singer/owner of We believe the historical, political and social history of Brisbane needs greater Brisbane. •1961 Glen Wheatley’s first DB’s nightclub evaluation. •Government-sanctioned Murri performance, Everton Park State Adrian ‘Red’ Redmond, 60s dance hall promoter operating at High School manual arts block. manager of the Red Orb venue Why contemporary music? Red Hill. Stafford boy comes good. Peter Hackworth, venue operator ★ •Government-sanctioned brothels. Contemporary music is a mirror to society. •Rhythm and Blues. (Primitiff) • Brisbane’s isolation. ★ Brisbane has a rich and unique cultural music heritage. • The Bee Gees and the early Cribb Ralph Tyrell, 60s university venues • The Brisbane Line (an imaginary Island years. Margaret, 60s Go Go dancer at line to be drawn in the event that •Religious groups as venues and Sound Machine Scope Japan invaded Australia). ★ music promoters i.e. YMCA and John Hannay, 60s promoter Exploring all aspects of the music scene in Brisbane from the 1940s to the present. Political environment: Hayden Sergeant. ★ Ivan Dayman, 60s lessee of Cloudland In 1942 Brisbane was influenced by an Americanization of Brisbane culture, which Prime Minister John Curtin •Youth tolerance displayed by Brian Laver, Activist shows cultural shifts in dance and music. The jazz and beatnik movements in the early General MacArthur police during student week (i.e. HARPO Queen Street). 50s and the emergence of Rock ‘n’ Roll; the Rhythm and Blues scene in the 60s; the The Forgan Smith Government Associate Professor Carole Ferrier, • Hoadley’s Band competition Punk movement in Brisbane; and the Brisbane scene in the 80s, 90s and the new The venues: School of English, Media Studies Festival Hall. and Art History millennium will be examined. Trocadero Club • Anti-Vietnam sentiment. ★ The project will examine the political climates of the times from the cold war to Blue Moon skating rink • FOCO. The Cremorne Theatre The 1970s Vietnam, the Nicklin and Bjelke-Petersen governments through to the Labor years. •Nicklin Government. Lennons •Peter Hackworth, Primitiff Coffee Scope: ★ The producers expect to draw on the experiences of a diverse range of members of the Cloudland Dance Hall (opened 1941 Lounge. •Commercialisation of rock from and taken over by the Americans community including musicians, promoters, venue owners and operators, fans, The venues: the local suburban hall into the for clerical duties) journalists, students, academics, community and government organisations and artists. Primitiff club scene. The music: • Anti-Vietnam War marches. ★ Participants will come from a wide cross section of the community with different age The Red Orb Swing and Jive; Big Bands; Country The Open Door •Joh era. groups, nationalities, economic and social backgrounds, religious and political beliefs. and Dance Troupes; Musicals Willis Bazaar •Police state. Festival Hall • Special Branch/Task Force and The 1950s The Sound Machine Liquor Licensing Branch (Queensland Police Force). Scope: The music: •1971 Springbok riots. •Jazz and folk scenes. Bris Pop; Bop and Beat; Rhythm •1973 Whiskey Au Go Go bombing. • ‘Bohemian Brisbane’. and Blues; Rock ‘n’ Roll. •1974 drinking age reduced to 18 •Beginnings of Rock ‘n’ Roll. Characters and bands: from 21. •1955 Johnny O’Keefe Brisbane gig. Glen Wheatley (Bay City Blues Band) •1974 first punk bands in the world •Billy Thorpe, aged 10 — performs Mick Hadley (The Purple Hearts/ start emerging in Brisbane. his first live act at the Railway Coloured Balls/Leroy/Shakers) •1975 establishment of 4ZzZ fm. Hotel, Woolloongabba. Attended Fuzzy (New World Trio) •1977–78 street march Salisbury State School with Lobby Steve Kipner (Steve and the Board) demonstrations. Loyd (leaves Brisbane aged 17). Ronnie Williams (The FIVE)
4 REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002 REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002 5 The music: Brad Shepard (The Fun Rose Pearse, QMusic network Social history Glam rock; Punk rock; Uni rock — Things/Hoodoo Gurus) coordinator Queensland Uni refectory gigs. Peter Shaw (Ups and Downs) Ruth Apelt, APRA representative Key events, which may be examined in relation to the cultural development of this city Characters and bands: Colin Johnston (The Treble Clefs) Leanne De Souza, band manager include but are not limited to: Carol Loyd (Railroad Gin) Lindy Morrison (Go Betweens) and QMusic operative ★ Les Jobson (Dreamkillers/ Suzzane Misso, Arts Qld The Battle of Brisbane/ The Brisbane line Geordie Bucannan (Spike and the ★ Gentle Art) Mystery of Sixes) (Contemporary Music) Anti Vietnam War marches Ed Kuepper (The Saints) Andy Nehl (The Black Assassins) Resin Dogs ★ Whiskey Au Go Go bombing Ed Wreckage (The Leftovers) Tony Milner (Zero/The Swell Guys Isis ★ (1970s)/Plug Uglies) Women in Docs Expo ‘88 Robert Forster (Go Betweens) ★ Tex Perkins (Tex Deadly and the Bruce Anton and Jim Dickson (The Lynette Irwin, Queensland Jazz Street march demonstrations Dum Dums) Survivors) Association ★ Joh era police state David Macpherson (Tex Deadly and Retired member of the Queensland Simon Honer, Skinny’s Records ★ Police Taskforce Maree Stirling, A and V, Bris 31 The bulldozing of Cloudland, Bellevue Hotel and other venues the Dum Dums) ★ ‘Wendy’ (Lovs é Blur) Peter Walsh, Manager, Livid The venues: The Fitzgerald Inquiry Marty Burke (Razar) Dave Darling, Music promoter and Festival Hall ★ 4ZZZ lockout at UQ and 4ZZZ market day riots Mark Callaghan (Riptides) venue manager, Silver Dollar Rock Against Work (Myer Centre) ★ JFK and the Cuban Crisis Festival culture (e.g. Livid ) Rod McCloud (Young Identities/Kicks) The Zoo ★ Stephan Gerber (The Lamingtons) Toy Watches The Arena SEQEB strikes Felicity Combes (The Sharks) The Headstones Rics Café ★ 1982 Commonwealth Games Land rights struggle Kelvin Grove High School Bob Anderson (Springbok activist) Melbourne Hotel ★ Save The Music campaign (Valley Music Council and Qmusic) Peter Beattie (Springbok activist) Sandgate State High School The Buffalo Club Debra Beattie The venues: Waterloo Hotel Other issues Di Zetland, FOCO Festival Hall Metropolis, Queen Street Mr Nelson, Able Records The Silver Dollar, Fortitude Valley Shamrock Hotel 1. The commercialisation of rock from the local suburban hall into the club scene Judy Stevens (Silas Farm) 4ZzZ Market Days Oxley Hotel and Norman Hotel 2. The rise of live rock music over jazz and its partial fall to techno/electronic music. Anne Jones, 4ZzZ announcer Souths Leagues Club, Davies Park (Odins Warriors) 3. Queensland laws and the social effects on Brisbane’s youth and the community. Matt Taylor Lang Park (Bowie and Kiss) Black Uhlans Club House (Kingston) Phil Manning The 279 Club (now the Stock The Lounge Lizard 4. Brisbane youth culture from bodgies to boardies (skateboards). Lobby Loyd Exchange Hotel) Van Gogh’s Earlobe 5. Recognition of the bands who played only on a Brisbane stage, as well as the bands that The venues: Cloudland The Capital found fame nationally and internationally. Cloudland Treasury Hotel Ja Ja’s Lounge Festival Hall Lands Office Hotel Double Helix The Curry Shop, George Street Morticia’s (Canberra/Capital Hotel) The Underground The National Hotel The Outpost, Fortitude Valley Jameson’s Bar 2.The Benefits Whiskey Au Go Go Whispers Community Halls (punks) Belfast Tavern, Queen Street 2000 and beyond The New York Hotel Benefits to the community Hamilton Hall Scope: ★ Baroona Hall Easts Leagues Club, East Brisbane Pride, enjoyment, appreciation and understanding of Brisbane’s rich cultural heritage. •1999–2001 Save the Music ★ Salisbury Hotel The Orient Hotel Campaign (Valley Music The opportunity to link diverse social, generational and cultural groups together through Newnham Hotel Brisbane River Cruises Council/Qmusic). the appreciation of Brisbane’s cultural output. (early–mid 80s) Sunnybank Hotel • Brisbane Powerhouse Centre for ★ The opportunity for individuals and organisations to re-establish links, form alliances, Sally’s Coffee Lounge, Annerley AHEPA Hall, West End Live Arts. allegiances and establish creative partnerships. Cloudland The Hacienda (now Dooley’s) •Queensland laws and social Pinnochio’s The Roxy (now The Arena) effects on Brisbane’s youth and Fortitude Valley The Brisbane Hotel Benefits to musicians/performers the community. ★ Queens Hotel Salisbury High School •2000 Department of Tourism, Raise community awareness of the role contemporary music and musicians have played Homestead Hotel Sport and Racing reviews Liquor in defining, commenting on, challenging, and shaping the collective social psyche and 4ZzZ Market Days The 1990s Act. First occupancy rights given culture of this city. Scope: to venues — assists with noise The 1980s •1992 Media, Entertainment and complaints and stop the music Benefits to sponsors/supporters Scope: Arts Alliance formed. orders on venues. ★ Opportunity to be involved with a project that links different sections of society in a • Qmusic formed. •2001 QUT Creative Industries/ •1982 Cloudland bulldozed. celebration and examination of the cultural factors that have contributed to the modern •1982 Commonwealth Games land •1996 4ZzZ Market Day riots. BCC-funded study into Brisbane rights struggle. •1999 Nuisance regulations for live music. Major Brisbane identity. •Start of festival culture (e.g. Livid). noise in Environment and recommendations made. • Expo ‘88. Heritage. Characters and bands: •1989 4ZzZ lock out at University Characters and bands: The Giants of Science of Queensland. David McCormack (Custard/Dave Martine Cotton, Valley Music Council •Fitzgerald Inquiry. McCormack & the Polaroids) John Desmarchelier, Valley Music • Special Branch files. Quan Yeomans (Regurgitator) Council Radio stations emerge: Katie and Tyrone Noonan (george) Kelvin Johnston, Revolution Rock, Triple M and B105 Rollo (Blowhard/Splurt Productions) Valley Music Council, Save the Characters and bands: Bernard Fanning (Powderfinger) Music Campaign spokesperson Tim Collett (The Humans/ Paul Curtis, Valve Records/Manager and advocate The Convertibles) Regurgitator Paul Piticco, Manager, Powderfinger Joc and C, The Zoo
6 REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002 REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002 7 3.The Mechanics 5.The End Product Funding Revolution Rock includes the following: ★ Contribution to Off the Wall visual arts display at the Tony Gould Gallery QPAM Auspicing Body ★ One day of live performance and events in Feb 2003 at Brisbane Powerhouse Centre for Queensland Council of Unions (including in-kind sponsorship). Live Arts Grants ★ A possible exhibit at Tony Gould Gallery QPAM Producers are currently seeking funding from Government authorities and organisations. There is scope for the exhibition to travel both regionally and interstate. A DVD is proposed Sponsorship to coincide with the 2005 Biennial. The project will include the following multi media formats: Major sponsorship schedule is currently being developed for Revolution Rock. ★ Film and/or video Collaborations ★ Film and live concert — recorded ★ Through collaborations with project participants (see below) we intend to extract and ★ Interactive CD ROM or DVD collate content for the final exhibit. ★ Book/s and Website ★ Producers are currently in discussions with Griffith University Queensland College of Art, ★ Oral history film/documentary Film & Television, UQ and QUT to form alliances and collaborations for the project, and ★ A curated exhibit are seeking input from individuals and the community as well as liaising with business organisations and government bodies. ★ Executive Producers of Revolution Rock will liaise with and advise creators and 6.Background producers of individual projects regarding content possibilities and linkages. ★ Individual project creators will retain ownership of their project and will work under, or Kelvin Johnston (involved in the music and arts sectors for over 20 years) conceived the be licensed for, the umbrella of Revolution Rock Exhibition. concept for Revolution Rock in 1999. In March 2001, the Collective began discussions with the Queensland Council of Unions. In May 2001, the project started in earnest. 4.Timeline Concept formulation (1999–May 2001) ★ The Collective will be the primary source of research and coordination of research. ★ Develop concept and liaise with possible collaborators. Concept strategic planning (Aug 2001 ongoing) ★ Community engaged via media to collaborate with the Collective ★ Collective identifies funding opportunities ★ Participants provide rough sketch of involvement and content they wish to provide. ★ Collective seek funding with QCU as auspice ★ Media publicity to engage the community. Developmental stage (2002–March 2003) ★ Liaise and engage the community. ★ Liaise with QPAM and Powerhouse. ★ Collect Visual art for the Brisbane content of Off the wall exhibit at QPAM. ★ Secure venues after negotiation. ★ Consult acts for live performance. ★ Seek sponsors. ★ Develop ticket strategy for payment of bands. ★ Revolution Rock to curate project with QPAM assistance. ★ The Revolution Rock Story proposed book. ★ Film oral history content. Exhibition and live performance ★ Selection and elements of the finished projects to be exhibited and live acts to perform. Future ★ An ongoing and evolving project.
8 REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002 REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002 9 Appendix One Past, current and potential collaborators and their roles Revolution Rock community arts and cultural collective Musicians consulted Brian Laver, Activist Screensound Des Morris, bodgies’ hairdresser John Oxley Library of Queensland Kelvin Johnston (Project Originator/Development) (partial list) Margaret, 60s Go Go dancer at History, State Library of Ed Kuepper (Saints) Sound Machine Queensland Roles: Executive officer and Project Co-ordinator Ed Wreckage (Leftovers) John Hannay, 60s promoter ★ Oversee project to completion Lindy Morrison (Zero, Go Ivan Dayman, 60s lessee of Government Betweens) Cloudland ★ Possible Role: Support Liaise and advise with all participants Robert Forster (Go Betweens) Dulcie Day and Jim Burke, 50s ★ Advise of potential grant opportunities Tex Perkins (The Cruel Sea, The promoters Brisbane City Council ★ Project management and co-ordination Beasts of Bourbon) Peta Crosby, 50s dancer Office of State Development David McCormack (Custard) Stewart Macintyre ★ Joint Curator Peter Shaw (Ups and Downs) Academic Special Projects Officer ★ Researcher Les Jobson (Dreamkillers and Currently liaising with: Arts Queensland Mystery of Six’s) Griffith University Susan Misso Barbara Haines (Public Relations) Mick Hadley (The Purple Hearts/ Griffith University Queensland Arts Officer Coloured Balls/Leroy/Shakers) Role: Marketing, research and public relations College of Art, Film & Television Marty Burke (Razar) Possible Role: cultural content Proposed Mark Callaghan (Riptides) Associated contributors to the collective provider Andy Nehl (The Black Assassins) individual project Keith Bradbury, Senior Lecturer, Art John Reid Colin Johnston (The Treble Clefs) Possible Role: Cultural Content Theory Rod McCloud (Young Identities and providers ‘The Brisbane Devotee’ — band manager, promoter, venue operator late 70s and early 80s. David Johnson, Associate Lecturer Kicks) Debra Beattie in Film & Television at Griffith Writing Cultural History Manuscript for Brisbane 1940s–1982 Stephan Gerber (The Lamingtons) Social History documentary and University, Queensland College of Quan Yeomans (Regurgitator) possible DVD production Debra Beattie Art Fuzzy (New World Trio) John Reid Craig C Douglas, Senior Lecturer, Film maker Tyrone Noonan (george) Written history of Brisbane Convenor of Curatorship Course Brian Jeffries Steve Kipner (Steve and the Board) contemporary music Stage 1 Ronnie Williams (Five) Conservatorium of Music (Brisbane Babylon) Photographer Brad Shepard (The Fun Things, Possible Role: music production Peter Shaw (Musicologist) Hoodoo Gurus) and duplication Business Garry Tamlyn, Deputy Director, Rollo (Blowhard) ToadShow Role: Research assistance Felicity Combes (The Sharks) Queensland Conservatorium, Possible Role: DVD production David Macpherson (Tex Deadly and Gold Coast Colin Johnston Industrial and community organisation the Dum Dums) University of Queensland Exhibit Preparatist, Australian Geordie Bucannan (Spike and the Possible Role: sociological and Queensland Council of Unions Museum Sydney Gentle Art) political history research Voluntary advice and consultation Role: Auspicing body and mentorship Carol Loyd (Rail Road Gin) Associate Professor Carole Ferrier, The Bee Gees School of English, Media Studies © Revolution Rock Community Arts Seamus Mee Vance Lendich (The Planets) and Art History Collective 2002 QCU — Arts in Working Life Stuart West (The Kodiaks) Associate Professor David Carter, Ross D Wylie, 60s Brisbane singer Director, Australian Studies © Kelvin Johnston 2000 amended and TV host) Centre 2002 Darcy Kelly, 50s Jazz to Rock Queensland University musician of Technology Tony Worsley, 60s entertainer Possible Role: content Janet Burke, 60s Cloudland singer development, economic research Toni McCann, 60s singer relevant to industry, production Peter Moscos, 60s and 70s assistance with multimedia event entertainer Andy Arthurs, Head of Music, Jon Blanchfield, 60s entertainer and Creative Industries Faculty TV host Terry Flew, Head of Media Communication, Creative Venue owners, Industries Faculty promoters and others Andrew Stafford, Researcher Johnny Morris, singer/owner of DB’s nightclub Cultural organisations John Hein, 70s promoter Queensland Performing Arts Retired member of the Queensland Museum police task force Beryl Davis, Manager Red Redmond, 60s manager of the Powerhouse Centre for Live Arts Red Orb venue Zane Trow, Director Peter Hackworth, venue operator (Primitiff Coffee Lounge) Ralph Tyrell, 60s university venues
10 REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002 REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002 11 Thank you The Revolution Rock Community Arts Collective is proudly supported by: ★ The Queensland Council of Unions ★ Brisbane Powerhouse Centre for the Live Arts ★ Arts Queensland ★ Queensland Performing Arts Trust ★ Queensland Performing Arts Museum ★ Media Entertainment and Arts Alliance ★ Griffith University Queensland College of Art, Film & Television ★ QUT, Creative Industries — Music Department. ★ The Brisbane community Current sponsors Queensland Council of Unions In kind sponsorship — book keeping, office space, telephone, computer, postage and voluntary mentorship from Arts and Cultural officer Seamus Mee. Spiderweb Design Interactive community web site. ToadShow Design of the sponsorship document. Acknowledgements Cover photo of Ed Wreckage (Leftovers) by Ray Cash, courtesy of The Courier-Mail. Seamus Mee, Queensland Council of Unions Beryl Davis, Sophie Gow and Christopher Smith, Queensland Performing Arts Museum \The Brisbane Devotee David Johnson, Associate Lecturer in Film & Television at Griffith University, Queensland College of Art Prof. Richard Vella, Andy Arthurs, Terry Flew, QUT Creative Industries music section Gillian Ridsdale, consultant curator We also acknowledge the wider community who are so eager to tell a Brisbane Story www.revolutionrock.com.au If you have not been mentioned in this sponsorship document you should not feel left out. Visit our website to tell your Brisbane story. Everyone is welcome and encouraged to contribute. Further information Kelvin Johnston Executive Officer Revolution Rock Community Arts Collective Telephone: 61 7 3217 9361 PO Box 330, Morningside QLD 4170, Australia Email: [email protected]
Go the revolution!!!!!
12 REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002