DOCSLIB.ORG

Dust Off the Wings Music Credits

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dust Off the Wings Music Credits music Phil Ceberano Justin Stanley (cast) band Warren Trout Greg Royal music editing Peter Whitmore scored music recorded at Megaphon Studios Charing Cross Studios mixed at Mirage scored music produced & mixed by Justin Stanley co-producer Phil Ceberano phil & justin's publisher PolyGram Music Publishing Australia engineer Keith "Medieval" Cooper assistant engineers Brett Lunney Josh Wermut musicians Phil Ceberano Justin Stanley Cath Synnerdahle Dave Reynolds Warren Trout Brendan Saint-Ledger Alex Hewitson piano accordian (sic) composed & performed by Peter Dasent exec soundtrack producer Michael Parisi soundtrack coordinator Richard East soundtrack supervisor Michelle Straney Soundtrack available on ew logo east west East West Records through Warner Music Australia Pty Limited music "Special" performed by Aspirin written by Aspirin courtesy Bright Spark Songs "Slide" performed by Brother Mustard written by Brother Mustard, Revelle/Stams/Sadowski/Reitzfeld/Tribby Copyright Control "Whoever's Been Using This Bed" performed by The Earthmen written by Batterham/Stevens published by Black Pig and PolyGram Music Publishing courstesy (sic) Warner Music Australia Pty Limited "Time" performed by Brother Mustard written by Brother Mustard, Revelle/Stams/Sadowski/Reitzfeld/Tribby Copyright Control "I'll Be Your Majick" performed by Def Fx written by Def Fx, Lowry/Horne/Stein/Fonti courtesy of Lost in Music, PolyGram Music Publishing, ESP Music/Admin. Leosong Music Group and Universal Music Australia Limited "Ground" performed by The Superjesus written by Tennent/McLeod publishing Control courtesy The Superjesus/Aloha records and Warner Music Australia Pty Limited "Lovers" performed by Effigy written by P Hardman published by Effigy Hardman/Beckerling/Stacey courtesy The All Blacks B.V. and Roadrunner Records "Silver Lizard" performed by Tumbleweed written by Tumbleweed, J Curley/I Curley/R Lewis/N Reith courtesy of PolyGram Music Publishing and Polydor Records Australia under licence from PolyGram Pty Limited "I Sucked A Lot of Cock To Get Where I Am" performed by Regurgitator lyrics = Quan Yeomans/music = Regurgitator published by EMI Music Publishing courtesy Warner Music Australia Pty Limited "Grab Hold" performed & written by Nikka Costa published by Mushroom Music courtesy Mushroom Records "Living with Lies" performed by Kate Ceberano written by Ceberano/Maher/Friedman published by Warner Chappell/Warner Chappell/Control courtesy Mushroom Records "Orgasm Addict" performed by Kiley Gaffney written by Pete Shelley/Howard DeVoto published by MMA Music Publishing on behalf of Complete Music Limited, and Howard Devoto courtesy Warner Music Australia Pty Limited Music in the film: There are a few scenes in the film where guitars are flashed about and a band plays, but most of the time, the music on the soundtrack is sourced. See this site's galleries for more images: Lyrics: Peter Dasent playing the accordion runs over the brief presentation and cast head credits. For the most part of the tail credits, there's a laid back instrumental, but a song begins with just over seventy seconds of the credits to run. It's the Buzzcocks' Orgasm Addict, performed by Kiley Gaffney. Lyrics as heard in the film: You tried it once, you found it all right for kicks Now you found out that it's a habit that sticks Orgasm addict, you're an orgasm addict Sneakin' in the back door with those dirty magazines Your momma wants to know what are those stains in your jeans Orgasm addict, you're an orgasm addict Uh-huh, uh-huh, uh-huh Uh huh, uh huh, uh huh You get in a heat, you get in a sulk But you still keep beating your meat to pulp Orgasm addict, you're an orgasm addict… (This is an abbreviated and slightly altered version but the full original lyrics are easily found online) CD: A CD of the soundtrack was released, with some carrying a sticker promoting key items in the package: CD East West 3984204142 1997 Music: Phil Ceberano, Justin Stanley 1. Better The Devil You Know, Penny Flanagan 2. Ground, The Superjesus 3. Bruises, Screamfeeder 4. Life’s So Bizarre, Dialogue 5. I Sucked a Lot of Cock to Get Where I Am, Regurgitator 6. Special, Aspirin 7. Doogza’s Brew, Original Score* 8. Silver Lizard, Tumbleweed 9. Time, Brother Mustard 10. Testosterone Trip, Dialogue 11. Lovers, Effigy 12. I’ll Be Your Majick, Def FX 13. Rash’s Brothel, Dialogue 14. Cunts Are Us, Original Score* 15. Smile, Pangaea 16. Karmic Flop, Even. 17. Nightmare, Original Score* 18. Grab Hold, Nikka Costa 19. Whoever’s Been Using This Bed, The Earthmen 20. Living With Lies, Kate Ceberano 21. The Wedding, Peter Dasent 22. Orgasm Addict, Kiley Gaffney * written and performed by Phil Ceberano and Justin Stanley Co-composer Phil Ceberano: Ceberano, who also performed in the film as "Phil" - he's seen first, taking a piss - had an eponymous website here, WM here, which contained this CV: I’ve been working in the entertainment industry both locally and internationally for over 30 years as professional musician, entertainer, TV presenter, producer, songwriter, musical director and composer. I’m known for my musical achievements and is regarded as one of Australia’s greatest guitarists. He has travelled extensively throughout Australia, Europe, the UK and US which has given him invaluable experience as a live performer. Phil joined forces with sister Kate Ceberano in 1985. With the huge success of her triple platinum selling debut solo album, ‘Brave’ the partnership of Phil and Kate would endure for many years to come. Phil has continued working with Kate as her guitarist, collaborator, co- writer, co-producer and bandleader on Kate’s tours and albums up until the present day. As well as working extensively with his sister, Phil has formed and played in many bands including well known Melbourne club band Sexual Chocolate (87-93) and Trentwood, Phil’s original power rock trio that toured throughout Australia (2001-2005), playing over 400 gigs in four years. He’s also worked as a composer & session player on music for film and television. Phil & his band, The Phil Ceberano Band, are continuously invited to play for exclusive VIP parties and media events. He’s established an outstanding reputation in his own right as an entertainer who delivers a great show every time. Phil's experience in the field of entertainment extends beyond music. He’s also worked as a professional actor in theatre and feature film and worked as a presenter on MTV. Phil is a motivational speaker and MC and has spoken in over 500 schools nationally since 1997. Communicating and interacting with people comes naturally to Phil. He has a real knack for making people of all ages and backgrounds feel at ease, whether it be in an intimate interview situation or in front of a large audience. Phil is a true entertainer with a magnetic personality. He has a real passion for life and a brilliant ability to connect with not only an audience but with individuals. His constant positive outlook on life, mixed with his natural charm & ‘can do’ attitude makes him one of the easiest people in Australia’s entertainment industry to work with and also one of the most enigmatic and engaging. (Below: Phil Ceberano) Co-composer Justin Stanley: Stanley's career went international, and he has a reasonably detailed wiki listing here, which notes Dust off the Wings as his first film work. Stanley had an eponymous website here, WM here, with a very short CV and assorted other items, news, music, media and contact details: (Below: Justin Stanley's CV, and some photos, with the final four photos showing Stanley with assorted recognisable colleagues) .
Load more

Recommended publications
  • Girls Like Us: Linder
    Linder Sterling is a British These include her 13-hour artist and performer whose NICOLE EMMENEGGER improvised dance perfor- career spans the 1970s WORDS mance piece Darktown Cake- B Manchester punk scene to Y walk and her most recent her current collaborations work, The Ultimate Form, a with Tate St. Ives and The 'performance ballet' inspired Hepworth Centre in north- at the photographed by Barbara Hepworth, fea- west England. turing dancers from North- PORTRAITS PORTRAITS ern Ballet and costumes by She has worked in a variety B arbara Pam Hogg. of mediums – from music H B Y DEVIN (as singer/songwriter/gui- Ives St. Tate Museum in epworth We met at the The Barbican B tarist for post-punk band LAIR Centre in London on a crisp Ludus) and collage (using March morning, just days a steady scalpel to splice after the opening of her first pornographic images into big retrospective at Le Musée feminist statements), to her d’Art Moderne in Paris. current durational works. Linder 18 19 Nicole Emmenegger: First off, thank you for send- Yes, I used to have this fascination for the mid-fifties. People ing through the preparatory text about you and your I know at every age seem to have this fascination about the work. It ended up being ten pages in 10-point font! culture that you were born into, climbed into. It’s your own personal etymology and you have to go back and work it Linder: How strange, I don’t even enjoy writing! out. It’s good detective work. It makes sense and how lucky for you that 1976 was such a great year.
    [Show full text]
  • What Questions Should Historians Be Asking About UK Popular Music in the 1970S? John Mullen
    What questions should historians be asking about UK popular music in the 1970s? John Mullen To cite this version: John Mullen. What questions should historians be asking about UK popular music in the 1970s?. Bernard Cros; Cornelius Crowley; Thierry Labica. Community in the UK 1970-79, Presses universi- taires de Paris Nanterre, 2017, 978-2-84016-287-2. hal-01817312 HAL Id: hal-01817312 https://hal-normandie-univ.archives-ouvertes.fr/hal-01817312 Submitted on 17 Jun 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. What questions should historians be asking about UK popular music in the 1970s? John Mullen, Université de Rouen Normandie, Equipe ERIAC One of the most important jobs of the historian is to find useful and interesting questions about the past, and the debate about the 1970s has partly been a question of deciding which questions are important. The questions, of course, are not neutral, which is why those numerous commentators for whom the key question is “Did the British people become ungovernable in the 1970s?” might do well to balance this interrogation with other equally non-neutral questions, such as, perhaps, “Did the British elites become unbearable in the 1970s?” My reflection shows, it is true, a preoccupation with “history from below”, but this is the approach most suited to the study of popular music history.
    [Show full text]
  • Song List by Artist
    AMAZING EMBARRASSONIC Song list by Artist CALIFORNIA LUV 2PAC AND DR.DRE DANCING QUEEN ABBA MAMA MIA ABBA S. O. S. ABBA BIG BALLS AC/DC HAVE A DRINK ON ME AC/DC HELLS BELLS AC/DC HIGHWAY TO HELL AC/DC LIVE WIRE AC/DC SIN CITY AC/DC TNT AC/DC WHOLE LOT OF ROSIE AC/DC YOU SHOOK ME ALL NIGHT LONG AC/DC CUTS LIKE A KNIFE ADAMS, BRYAN SUMMER OF '69 ADAMS, BRYAN DRAW THE LINE AEROSMITH SICK AS A DOG AEROSMITH WALK THIS WAY AEROSMITH REMEMBER( WALKING IN THE SAND) AEROSMITH BEAUTIFUL AGUILARA, CHRISTINA LOST IN LOVE AIR SUPPLY MOUNTAIN MUSIC ALABAMA ROOSTER ALICE IN CHAINS ONE WAY OUT ALLMAN BROS RAMBLIN MAN ALLMAN BROS SISTER GOLDEN HAIR AMERICA SHE'S HAVING MY BABY ANKA, PAUL SUGAR, SUGAR ARCHIES AINT SEEN NOTHING YET BACHMAN TURNER OVERDRIVE LET IT RIDE BACHMAN TURNER OVERDRIVE TAKIN CARE OF BUSINESS BACHMAN TURNER OVERDRIVE EVERYBODY BACKSTREET BOYS FEEL LIKE MAKIN' LUV BAD CO. GOOD LOVIN' GONE BAD BAD CO. SHOOTING STAR BAD CO. NO MATTER WHAT BADFINGER DO THEY KNOW IT'S X-MAS BAND-AID MANIC MONDAY BANGLES WALK LIKE AN EGYPTIAN BANGLES SATURDAY NIGHT BAY CITY ROLLERS IN MY ROOM BEACH BOYS FIGHT FOR YOUR RIGHT TO PARTY BEASTIE BOYS COME TOGETHER BEATLES DAY TRIPPER BEATLES HARD DAYS NIGHT BEATLES LET IT BE BEATLES HELTER SKELTER BEATLES HEY JUDE BEATLES SOMETHING BEATLES TWIST AND SHOUT BEATLES LOSER BECK JIVE TALKIN' BEE GEES www.amazingembarrassonic.com Page 1 9/30/15 AMAZING EMBARRASSONIC Song list by Artist MASSACHUSETTS BEE GEES STAYIN' ALIVE BEE GEES HEARTBREAKER BENATAR, PAT HELL IS FOR CHILDREN BENATAR, PAT HIT ME W/YOUR BEST SHOT
    [Show full text]
  • The History of Rock Music: 1976-1989
    The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Punk-rock (These are excerpts from my book "A History of Rock and Dance Music") London's burning TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The effervescence of New York's underground scene was contagious and spread to England with a 1976 tour of the Ramones that was artfully manipulated to start a fad (after the "100 Club Festival" of september 1976 that turned British punk-rock into a national phenomenon). In the USA the punk subculture was a combination of subterranean record industry and of teenage angst. In Britain it became a combination of fashion and of unemployment. Music in London had been a component of fashion since the times of the Swinging London (read: Rolling Stones). Punk-rock was first and foremost a fad that took over the Kingdom by storm. However, the social component was even stronger than in the USA: it was not only a generic malaise, it was a specific catastrophe. The iron rule of prime minister Margaret Thatcher had salvaged Britain from sliding into the Third World, but had caused devastation in the social fabric of the industrial cities, where unemployment and poverty reached unprecedented levels and racial tensions were brooding.
    [Show full text]
  • Punk's Division of Labour
    Cadernos de Arte e Antropologia Vol. 6, No 1 | 2017 I Wanna Be Your Punk: DIY e culturas underground Design it Yourself? Punk’s Division of Labour Dr Russ Bestley Electronic version URL: http://journals.openedition.org/cadernosaa/1219 DOI: 10.4000/cadernosaa.1219 ISSN: 2238-0361 Publisher Núcleo de Antropologia Visual da Bahia Printed version Number of pages: 71-87 Electronic reference Dr Russ Bestley, « Design it Yourself? Punk’s Division of Labour », Cadernos de Arte e Antropologia [Online], Vol. 6, No 1 | 2017, Online since 01 April 2017, connection on 19 April 2019. URL : http:// journals.openedition.org/cadernosaa/1219 ; DOI : 10.4000/cadernosaa.1219 © Cadernos de Arte e Antropologia CADERNOSDESIGN IT YOURSELF? PUNK’S DIVISION OF LABOUR AA Dr Russ Bestley1 London College of Communication, United Kingdom Punk’s do-it-yourself call to arms led to a widespread adoption of the rhetoric, if not always the practice, of independence from traditional means of production. During the early period of punk’s development in the United Kingdom, a distinct division of labour can be seen in the impact of an ‘anyone can do it’ DIY ethos on a range of activities.2 hese range from live performance to the creation and manufacture of punk artifacts (clothes, posters, lyers, fanzines, records). While some of these areas ofered new opportunities for amateur producers, within more technical areas of manufacturing, including the physical production of records, do-it-yourself could only have a nominal impact. Many punk groups did not have access to sound recording technologies, and even of they did, they would have to hand over the cutting and pressing of vinyl to a professional outit.
    [Show full text]
  • Revolution Rock
    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.
    [Show full text]
  • Brisbane Music Family Tree 2005
    Overseas Bands Texas Tea Common bandmember Tripod (QLD) Kate Jacobson, THe Pop Star International Pug Butterfly Benjamin Dougherty (Vegas Kings), Greg Hilliard Strontium Cowboy Bob (Vaginabillies, Massage units Rescue Jon Ryan The Grates Prix Divers Heavyweight Dirtcatchers, Gin Club etc.) Michael Elliot, Roland Bisshop Dog Alana Skyring, Rober Lukins, Kate Jacobson, Sugadust champion Greg Hilliard Patience Hodgeson, Patience Hodgeson Interstate Bands Evelyn Golding, Blood idols/ Greg Hilliard Gail Hardgraves John Patterson METROSEXUALS Mirko (Sekiden) Common bandmember bantha fodder THE SLIGHT Matthew Lobb THe Mess hall Angus Chapman, PARADE Trevor Ludlow Cec Condon Paul Coleman (Van Lustbader) Alana Skyring, Turtlebox PEOPLE Nick Naughton Holster = band Conan Thorogood, Ed Henty, is defunct Roland Bisshop OF EARTH Robert Lukins Lee Griffin, Burnside the Winters Jason Cassidy, Patrick McDermott, Clifton Robert Lukins, Kate Bradley Xavier Poropat (Eat Laser Scumbag, The B-sides Alana Skyring, Partkertron etc) Alana Skyring, Ed Henty, = hub John Swingle, Ian Campbell Kilgore Stag Conan Thorogood, Damian Radford Trevor Ludlow, Clone Dan Baebler, John Patterson Trout Jason Cassidy Jason Cassidy, Joss Berrett Maureen Hansen, Roshambo Greg Charles Suzi Hansen, STANding 8 Tony Giacca ZOMBIE Computor Tim Brennan , Teen Period John Lowery, Mexico City David McCormack, Angus Chapman, counts Collective Crime Boss Mark Lowery Jason Cassidy, Bre O’Neil, Will Cec Condon, Bob Moore Paul Coleman, John Patterson, Alana Skyring, Fowles, Tam Patton,Tom Beaumont, Simon Raditch, James Straker Mark Perry Lee Fletcher, D-KO Blonde Ben Dougherty, Greg Hilliard, Michael Elliot John Patterson Kris Swales, Roland Bisshop, Walter Gentle Ben & Cobra Cunningham Simon Dennes, Formoso his sensitive side Evelyn Golding, Joss Berrett, Greg Brady, Ben Corbett, Arbuckle Simon Lilley.
    [Show full text]
  • House Round 3 Written by Stephen Webb 1. According to One Tradition the Game Began As a Tool to Teach the Heir to Th
    NATSSO II - House Round 3 Written by Stephen Webb 1. According to one tradition the game began as a tool to teach the heir to the Chinese throne patience, discipline and balance. The "Ko rule" forbids placing a stone in a way that would recreate a previous board position, while each stone has certain liberties, and if those liberties are taken by an opponent then the stones are captured and removed from play. For ten points, name this extremely difficult-to- master board game whose Chinese name translates as "Chess of Surrounding One's Opponent." Answer: Go or Wei-ch'i 2. The last ruler of this empire, Ponhea Yat, was forced to flee the capital city of Angkor Thom after a Siamese invasion. After resettling in Tuol Basan City, he was forced to move again by flooding, founding the city of Phnom Penh. Succeeeded by the Chenla Empire, for ten points, name this empire of southeast Asia based in what is today Cambodia. Answer: Khmer Empire 3. He unified the field of algebraic number theory with his 1897 treatise Zahlbericht, literally "report on numbers," and provided the first complete and correct axiomatization of Euclidean geometry in his 1899 book Foundations of Geometry. Aiming to completely axiomatize all of mathematics, this effort, known as his "Program", ended with Gödel's Incompleteness Theorem. For ten points, name this influential German mathematician who set the stage for twentieth century research with his list of 23 unsolved problems. Answer: David Hilbert 4. Blondchen repulses the rough attempts at love made by the Pasha, and after her master recounts the Pasha's threats to acquire her love, she is greeted by Pedrillo, the servant of the hero of the opera.
    [Show full text]
  • Entertainment Memorabilia, 3 July 2013, Knightsbridge, London
    Bonhams Montpelier Street Knightsbridge London SW7 1HH +44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax 20771 Entertainment Memorabilia, Entertainment 3 July 2013, 2013, 3 July Knightsbridge, London Knightsbridge, Entertainment Memorabilia Wednesday 3 July 2013 at 1pm Knightsbridge, London International Auctioneers and Valuers – bonhams.com © 1967 Danjaq, LLC. and United Artists Corporation. All Rights reserved courtesy of Rex Features. Entertainment Memorabilia Wednesday 3 July 2013 at 1pm Knightsbridge, London Bonhams Enquiries Customer Services The following symbol is used Montpelier Street Director Monday to Friday 8.30am to 6pm to denote that VAT is due on the hammer price and buyer’s Knightsbridge Stephanie Connell +44 (0) 20 7447 7447 premium London SW7 1HH +44 (0) 20 7393 3844 www.bonhams.com [email protected] Please see back of catalogue † VAT 20% on hammer price for important notice to bidders and buyer’s premium Viewing Senior Specialist Sunday 30 June Katherine Williams Illustrations * VAT on imported items at 11am to 3pm +44 (0) 20 7393 3871 Front cover: Lot 236 a preferential rate of 5% on Monday 1 July [email protected] Back cover: Lot 109 hammer price and the prevailing 9am to 4.30pm Inside front cover: Lot 97 rate on buyer’s premium Consultant Specialist Inside back cover: Lot 179 Tuesday 2 July W These lots will be removed to Stephen Maycock 9am to 4.30pm Bonhams Park Royal Warehouse Wednesday 3 July +44 (0) 20 7393 3844 after the sale. Please read the 9am to 11am [email protected] sale information page for more details.
    [Show full text]
  • Buzzcocks: Live at Shepherds Bush Empire 2003
    Buzzcocks: Live At Shepherds Bush Empire 2003 http://cultclash.777mb.com/films/buzzcocks.html Buzzcocks: Live at Shepherd's Bush Empire 2003 Reviewed by Winslow Leach THE REVIEW: Buzzcocks were formed in Manchester, England in the mid 70s by two kids named Pete Shelley (lead vocals) and Howard Devoto. The name "Buzzcocks" was taken from a local slang word used by the older people which meant "young kids". The group use of the name was mainly influenced by its use in the UK television drama "Rock Follies". After attending a Sex Pistols show in London, the two friends arranged for the Pistols to play in their hometown at the Lesser Free Trade Hall in June 1976. Buzzcocks were going to play at this concert themselves and open for the Pistols but they didnt have any bass player or drummer at the time. They then hired musicians John Maher and Steve Diggle on and they played their first concert with the Sex Pistols the following month in July. At the end of 1976, the Buzzcocks had recorded a 4 track EP called "Spiral Scratch" on their own recording label called "New Hormones". Buzzcocks' music was incredibly energetic and infectious, and their early song "Boredom" was a huge hit with the punk audiences. As soon as the punk rock movement started to become a mainstream fad, Buzzcock's co-founder Howard Devoto split and formed another band called "Magazine" which was something more stage performance based. Pete Shelley continued to sing, but bassist Steve Diggle moved to guitar and the band added Steve Garvey as the bass player.
    [Show full text]
  • Gavin Webber and Regurgitator Create A
    29 October 2009 ARE YOU READY FOR A REAL ROCK SHOW? We’re talking 75 mind-blowing minutes of explosive dance and electrifying rock…Regurgitator live in concert with ground-breaking choreographer Gavin Webber and 5 of Australia’s most powerful contemporary dancers. Opening as a world premier in Toowoomba on November 18, and in Brisbane from 25 November, at Queensland Performing Arts Centre (QPAC), Rock Show is presented by QPAC as part of Q150 Queensland’s 150th celebrations 2009. Bringing together one of Australia’s most exciting creative talents, Gavin Webber and international rock-electronica band Regurgitator, Rock Show is an assault on the senses - loud, dirty, sexual and playful – as dance, theatre and a rock concert merge into a catharsis of explosive movement, thrashing guitars and keyboards. Regurgitator manager Paul Curtis said: "As a long standing 'rock band' Regurgitator is excited about the upcoming collaboration with Gavin Webber and his exhilarating approach to contemporary dance. "Here is not only another opportunity to step outside the standard live performance scenario of a rock show, but in conjunction with a true genius of dance choreography, question and distort that scenario into askewed artistic realms," Mr Curtis said. Mr Webber said the show was a unique concept. "It is a show that I have wanted to make for a lot of years and now that Regurgitator are involved it's the only thing I can concentrate on," he said. "It is not a theatre show, it is not a dance piece, it is not a rock concert and yet it will be all those things.
    [Show full text]
  • SUGGESTED TEXTS for the English K–10 Syllabus
    SUGGESTED TEXTS for the English K–10 Syllabus SUGGESTED TEXTS for the English K–10 Syllabus © 2012 Copyright Board of Studies NSW for and on behalf of the Crown in right of the State of New South Wales. This document contains Material prepared by the Board of Studies NSW for and on behalf of the State of New South Wales. The Material is protected by Crown copyright. All rights reserved. No part of the Material may be reproduced in Australia or in any other country by any process, electronic or otherwise, in any material form or transmitted to any other person or stored electronically in any form without the prior written permission of the Board of Studies NSW, except as permitted by the Copyright Act 1968. School students in NSW and teachers in schools in NSW may copy reasonable portions of the Material for the purposes of bona fide research or study. Teachers in schools in NSW may make multiple copies, where appropriate, of sections of the HSC papers for classroom use under the provisions of the school’s Copyright Agency Limited (CAL) licence. When you access the Material you agree: • to use the Material for information purposes only • to reproduce a single copy for personal bona fide study use only and not to reproduce any major extract or the entire Material without the prior permission of the Board of Studies NSW • to acknowledge that the Material is provided by the Board of Studies NSW • not to make any charge for providing the Material or any part of the Material to another person or in any way make commercial use of the Material without the prior written consent of the Board of Studies NSW and payment of the appropriate copyright fee • to include this copyright notice in any copy made • not to modify the Material or any part of the Material without the express prior written permission of the Board of Studies NSW.
    [Show full text]