Club Entertainment
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Introduction
Introduction In January 1997, two Sydney Morning Herald journalists produced a brief account of what they perceived to be the most important rock and roll sites in Sydney.1 Their sense of the city's rock histories extended to places of local mythology well beyond popular music's production and consumption: five star hotels as frantic sites of adoration of the Beatles ensconced within; psychiatric hospitals where career paths merged with psychosis; and migrant hostels as sites of cross-cultural ambitions. The article was a rare acknowledgement of the spaces and places of performersand fans' interaction. This thesis constitutes an extended response to the article's implicit desire to recognise alternative accounts of Australian popular music connected to broader city narratives. In analysing the rock music venues of Sydney as sites of interaction between musicians, fans and government, I am principally concerned with three interrelated themes: • The social construction of live performance venues from 1955 amidst the parallel construction of the performer and fan as an 'unruly' subject; • The industrial development of live performance: the live rock venue within commercial/economic structures; and • The dialectical tension of the above in reconciling the state's desire for manageable 'cultural citizens' with broader cultural policy (support for live rock and roll within arts policies). A more detailed explication of these strands is undertaken in Chapter One, in providing a theoretical overview of relations between popular culture and the state, and specific media/cultural/popular music studies approaches to cultural practice and policy. My personal interest in the histories of live rock venues parallels an increased 1 Jon Casimir and Bruce Elder, 'Beat streets - a guide to Sydney's rock and roll history', Sydney Morning Herald, 9th January, 1997, pp.29-30. -
Yours Jerry Lee Lewis.Pdf
ROCKIN’ AT THE CITY HALL, HOBART 1959 - 1960 **** 23 January 2018 March 1959. The Big Show- the Lee Gordon Big Show, at the City Hall. Other teenagers were crowding the entrance, most arriving by the green and yellow Metropolitan trams and buses, or walking. Some parents dropped their teenagers off. Boys smelling of ‘Brylcream’ and ‘California Poppy’, hair slicked back. My school mate Dave Wilson and I are wearing our suits and ties which we wore to Hobart High School that day so we could go to the concert well-dressed. We line up for tickets, two middle class 14 year olds with stars in our eyes. We’re going to the early evening show at 6.15pm. In through the doors. A moment in time - in our town, our own place. Over there was The Mainland – Melbourne - Sydney- that’s was where ships went - an epic journey away. Somewhere there was Memphis, Tennessee. During the day, the crinkly-haired State Premier, Eric Reece, gave a reception for the first Big Show stars, the first performance of their Australian tour with Mr Reece, Johnny O’Keefe and Frankie Avalon in suits and ties. I was enthralled with entertainers ever since my Aunt & Uncle had taken me, aged 9, to see a relative play the organ for the Follies at the Theatre Royal, Hobart. It was Vaudeville – a variety show, with Max & Stella Reddy, comedians, magicians, jugglers. Afterwards we met Uncle Geoff Robertson and some of the performers. I later heard Australian country singers, the LeGarde Twins and Smoky Dawson in their tent shows at the Hobart Regatta, The music, mostly from the USA shook my life in suburban Hobart, as much as any other city in the world, spread by radio stations with Top Ten and Top 40s. -
Chapter 4 Clubland 1962-1972
Chapter 4 Clubland 1962-1972 From 1957 into the early 1960s, Johnny O'Keefe, Col Joye, Johnny Devlin, Johnny Rebb, Alan Dale and Lonnie Lee had provided proudly masculine templates of local success. O'Keefe and Joye also revealed considerable entrepreneurial skills in establishing managerial empires based upon their live circuit, radio and television popularity. Upon establishing responsive local environments, both managed many of the second wave of performers. This chapter examines the growth in Sydney's licensed clubs, and their concurrent interest in rock and roll as a lucrative form of entertainment. As identified in the development of the hotel and club circuits, this required a refinement of the 'unruly' rock and roll aesthetic evident in the previous chapter. The belief in more 'melodic' recording arrangements, and performers' incorporation into older notions of club entertainment signified a break with the more hysterical constructions of the music in the 50s. However, an examination of the Sydney surf club circuit in the mid-60s reveals a brief resurrection of earlier rock and roll beliefs. The surf club battles between 'surfies' and 'rockers' present an interesting precedent to the mods-rockers clashes in Britain. Moreover, echoes of earlier town hall/ballroom battles are evidenced in concerns founded upon generational differences regarding civic duty, and teens' contributions in constructions of community. While rock and roll displayed an increasing professionalism by promoters and performers, portrayals of 'wild' youth persisted as powerful discursive devices of social control. An important context of 1960s leisure is provided in the transfer of State government from Labor to the Liberal Party in 1965. -
A History of the Early Days of Rock 'N' Roll in Brisbane . . . As Told by Some
A history of the early days of rock ‘n’ roll in Brisbane . as told by some of the people who were there. Geoffrey Walden B. Ed., M. Ed. (Research) Thesis submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy to the School of Cultural and Language Studies in Education, Faculty of Education Queensland University of Technology January 2003. Abstract The music history that is generally presented to students in Queensland secondary schools as the history of music is underpinned by traditions associated with the social and cultural elite of colonialist Europe. On the other hand, contemporary popular music is the style with which most in this community identify and its mass consumption by teenagers in Brisbane was heralded with the arrival of rock ‘n’ roll in the mid-1950s. This project proposes that the involvement of the music education system in, and the application of digital technology to, the collection and storage of musical memories and memorabilia with historical potential is an important first step on the journey to a music history that is built on the democratic principles of twenty-first century, culturally and socially diverse Australia rather than on the autocratic principles of colonialist Europe. In taking a first step, this project focused on collecting memories and memorabilia from people who were involved in an aspect of the coming of rock ‘n’ roll to Brisbane. Memories were collected in the form of recorded conversations and these recordings, along with other audio and visual material were transferred to digital format for distribution. As an oral history focusing its attention on those who were involved with the coming of rock ‘n’ roll to Brisbane in the mid to late 1950s and the early 1960s, this project is intended as a starting point for that journey. -
Festival 30000 Lp Series 1961-1989
AUSTRALIAN RECORD LABELS FESTIVAL 30,000 LP SERIES 1961-1989 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, OCTOBER 2015 Festival 30,000 LP series FESTIVAL LP LABEL ABBREVIATIONS, 1961 TO 1973 AML, SAML, SML, SAM A&M IL IMPULSE SODL A&M - ODE SINL INFINITY SASL A&M - SUSSEX SITFL INTERFUSION SARL AMARET SIVL INVICTUS ML, SML AMPAR, ABC PARAMOUNT, SIL ISLAND GRAND AWARD KL KOMMOTION SAT, SATAL ATA LL LEEDON AL, SAL ATLANTIC SLHL LEE HAZLEWOOD INTERNATIONAL SAVL AVCO EMBASSY LYL, SLYL, SLY LIBERTY SBNL BANNER DL LINDA LEE BCL, SBCL BARCLAY SML, SMML METROMEDIA BBC BBC PL, SPL MONUMENT SBTL BLUE THUMB MRL MUSHROOM BL BRUNSWICK SPGL PAGE ONE CBYL, SCBYL CARNABY PML, SPML PARAMOUNT SCHL CHART SPFL PENNY FARTHING SCYL CHRYSALIS PJL, SPJL PROJECT 3 MCL CLARION RGL REG GRUNDY NDL, SNDL, SNC COMMAND RL REX SCUL COMMONWEALTH UNITED JL, SJL SCEPTER CML, CML, CMC CONCERT-DISC SKL STAX CL, SCL CORAL NL, SNL SUN DDL, SDDL DAFFODIL QL, SQL SUNSHINE SDJL DJM EL, SEL SPIN ZL, SZL DOT TRL, STRL TOP RANK DML, SDML DU MONDE TAL, STAL TRANSATLANTIC SDRL DURIUM TL, STL 20TH CENTURY-FOX EL EMBER UAL, SUAL, SUL UNITED ARTISTS EC, SEC, EL, SEL EVEREST SVHL VIOLETS HOLIDAY SFYL FANTASY VL VOCALION DL, SDL FESTIVAL SVL VOGUE FC FESTIVAL APL VOX FL, SFL FESTIVAL WA WALLIS GNPL, SGNPL GNP CRESCENDO APC, WC, SWC WESTMINSTER HVL, SHVL HISPAVOX SWWL WHITE WHALE SHWL HOT WAX IRL, SIRL IMPERIAL 2 Festival 30,000 LP series FL 30,001 THE BEST OF THE TRAPP FAMILY SINGERS, VOL. -
ANOTHER VIEW March 2010
LONNIE LEE – ANOTHER VIEW August 2014 Lonnie was born to parent's who lived on a sheep property called 'Bleak House' a few miles from a small railway siding called Rowena in North West NSW between Moree and Walgett. In 1908, his grandfather named the property ‘Bleak House’ after the Charles Dickens classic of the same name. Whilst he spent many of his pre teenage years as a boarder in Sydney's Trinity Grammar school, it was at this time, when, as a very young boy he made his first wireless crystal set to listen to the wider world of music which of course, led him to hear the songs which would eventually become his life. Stars like Johnnie Ray, Nat King Cole, Guy Mitchell and of course Elvis were the mainstays of this young guys life as he worked on the sheep property. Music was his escape and that's what he did. In Sydney in May 1956 he entered a talent contest singing Elvis' first hit, 'Heartbreak Hotel' and as far as we know it was the first time an Elvis song was sung on Australian radio. A few months later he won the title Australia's Elvis Presley when the MGM movie company found that not too many people in Australia knew who Elvis was, so they wanted to promote his name. By this time Lonnie had his own rockabilly combo which we also understand was the first pro rockabilly band in Australia. Following this successful adventure into music, he had a car accident which took him by parental control back to the country, as his conservative parents thought this new R & R was "evil".